Welcome to Bliss/Aquamarine - alternative, underground and indie music.

ALBUM REVIEWS

VARIOUS The Quietened Journey CD (A Year in the Country)
A Year in the Country's latest themed compilation explores abandoned transport systems, from Roman roads to the rusted remains of railways closed by Beeching in the 1960s. Pulselovers' mix of vintage electronica and psychedelia motors along like a train with its driving rhythm and steam engine sounds. Sproatly Smith make brooding, mournful psych-folk inspired by the story of Charlotte Brian, who was killed when run down by a train in the 19th century. The Séance provide a beautiful harpsichord and viola piece punctuated by the ghostly sounds of long-lost freight trains. Grey Malkin (ex-The Hare and the Moon)'s current project Widow's Weeds set ecstatic choral vocals and birdsong-like flute (courtesy of Kitchen Cynics' Alan Davidson) to a motorik rhythm and echoing train whistle sounds. The Heartwood Institute's shimmering analogue electronics evoke a speedy yet relaxing train journey. Field Lines Cartographer provides a glacial, woozy soundscape both calming and beautiful. Grey Frequency's piece is a stark, evocative blend of piano, washes of electronic sound, and field recordings from a derelict train station. More abstract experimental sounds are represented by Depatterning's feverish swishes and swirls, slicing metallic noise and mechanistic bumps and rumbles, A Year in the Country's brooding cinematic ambience, Dom Cooper and Zosia Sztykowski's eerie mix of drones, bells and field recordings, and the frankly terrifying Howlround piece full of destruction, explosion and fury. Available at www.ayearinthecountry.co.uk

RIGHT HAND LEFT HAND Zone Rouge CD/LP/Download (Bubblewrap)
Third album from Cardiff post-rock duo Right Hand Left Hand, in which looped and layered guitars and drums paint bleak sound-pictures illustrating the harm humans have done to the Earth and to fellow humans. Each track is inspired by an act of atrocity, be it war, species extinction, genocide, or environmental pollution, committed at various points during history at various locations around the world. The music here is much more melodic than I'd expected based on its thematic background, though it certainly gets the message of human brutality across during its most harsh, chaotic and unsettling moments. Mirny is almost symphonic in scope, with soaring melodies and glacial atmospherics against an urgent, unstoppable rhythm. Floreana features a pensive guitar melody swathed in brooding soundscaping, then introduces a jabbing, stabbing synth line that wouldn't sound out of place in a 1980s dance number, juxtaposed with cinematic post-rock guitars and spacey retrofuturistic electronics. Terra Nullius begins as a meditative piece with folky undercurrents, before giving way to a sweeping post-rock atmosphere. The second part of the album tends towards harsher sounds and best illustrates the album's theme. White Sands is an angular, choppy, unsettling piece built around nightmarish noise collisions. Oradour-sur-Glane is bleak, mechanistic and brutal, drawing from elements of post-rock, prog, metal, experimental noise and electronica. Kola starts out as an uptempo yet gentle piece suffused with melancholic beauty, before introducing a relentless, on-edge rhythm, chaotic guitar noise and hallucinatory soundscaping. Chacabuco combines the full-on intensity of metal with a bleak, gothic atmosphere, overlaid with the fierce, impassioned vocals of guest singer Taliesyn Kallstrom. Find out more at www.bubblewrapcollective.co.uk

RÚNAHILD Seidfylgjur CD (Grimfrost)
I count Rúnahild among my favourite artists, and have been following her work since her previous project Eliwagar. Her work has evolved considerably over the years; whilst still rooted in the spirituality of pre-Christian Northern Europe, the martial imagery of Viking Age warriors, battles and male gods such as Odin and Tyr as found in the earlier Eliwagar material is no longer a part of the music Rúnahild is making today. Nowadays she is tapping into something much more primal, shamanistic and intuitive, inspired by the feminine magical arts of the seidkona. Following several albums on her own Nordafolk label, Rúnahild has now signed to Grimfrost Records, the musical offshoot of Grimfrost which deals in such things as Viking reenactment equipment and historical jewellery replicas. The CD is packaged in a fold-out wallet with booklet full of mist-shrouded Norwegian nature scenery, the ethereal beauty of which is a perfect match for the music contained within.
Dísablót features ecstatic chanting layered over atmospheric sounds created by bullroarer and singing bowl. Myrkríða is darkly beautiful medieval-tinged folk, arranged with a combination of ringing lyre and heady percussion that recalls Dead Can Dance, and vocal accompaniment that shares some stylistic similarities with both Native American chants and Sámi joik. Ferden til Brunnen opens with soft chanting and the calls of an owl, before giving way to an authentically historical-sounding folk ballad akin to the traditional Norwegian songs on albums such as Kalenda Maya's Norse Ballads and Trio Mediaeval's Folk Songs. Rúnahild is joined by Gustav Holberg of Folket Bortafor Nordavinden on Vardlokkur, a primal, intense, ritualistic piece led by guttural and screamy throat singing. Urseid ingeniously brings together shamanistic chants and rhythms with medieval folk melodies, in a way that is deeply moving and soul-stirring.
Those who understand what is meant by song titles such as Dísablót, Vardlokkur, or Urseid will feel spiritually nourished by this album. Even if the lyrical inspiration behind the album means nothing to you, it can still be enjoyed on a purely musical level, and has much to recommend to fans of the ethereal medieval- and world music-informed sounds of Dead Can Dance, the current crop of bands envisaging how ancient Nordic music may have sounded, such as Wardruna, Nytt Land or Heilung, and the dark folk/neofolk scene in general. It's a jaw-droppingly beautiful album with some of Rúnahild's finest moments yet. Available at runahild.com or grimfrost.com

THE SPEED OF SOUND 30th Anniversary Scoop: 1989-2019 CD (BE Records Manchester)
12 track compilation celebrating The Speed of Sound's 30th anniversary. The album is only available on CD - no download or stream options - and collects material that has never before been available on CD format. I Don't Want Your Attentions kicks out at sexual harassment in the workplace within a spiky indiepop setting. Shut All the Clubs combines the aggression of punk with post-punk drama and angularity. The single version of Maid of the Grey balances spooky gothic tendencies with off-centre psych-pop. Nightmare is an inventive slice of dark-edged, surreal psychedelia. I Wanna Feel Good is a snarly blast of 60s-style garage rock. An eclectic band who pull together various forms of alternative music from the post-punk era - spiky angularity, gothic darkness, and the poppier sounds that would evolve into indiepop - whilst having just as much enthusiasm for the psych, mod and garage of the 1960s, and combine these varied influences to form a distinctive sound of their own. More info at thespeedofsounduk.blogspot.com

EDWARD ABBIATI Beat the Night CD/LP/Download (Harbour Song)
Debut solo album from Edward Abbiati (Lowlands, The ACC), featuring guest appearances from the likes of Mike 'Slo-Mo' Brenner (Magnolia Electric Co, Marah) and Joey Huffman (Georgia Satellites, Soul Asylum), and released on M G Boulter's Harbour Song label. I Got Hurt is introspective Americana ornamented with sighing lap steel and a beautiful, sophisticated string arrangement. Judgement Day #2 is dark, raw and honest roots-rock. 45 is world-weary and regretful, with an effective blend of acoustic and electric guitars, lap steel and piano providing the melancholic and moving accompaniment. I Can't Tell Ya is a stripped-down acoustic number with delicate fingerpicked guitar and doleful harmonica. Find out more at lowlandsband.com

KITCHEN CYNICS Sans Seraphim CDR/Download (Les Enfants du Paradiddle)
Kitchen Cynics is the recording project of super-prolific psych-folk and experimental musician Alan Davidson, who has released over 100 albums since the late 1980s and shows no sign of running out of creative ideas. He is a true musical storyteller whose songs weave vivid tales of nature and supernature, history, fantasy and memory. There's the darkly psychedelic murder ballad Jinkabout Mill; the combination of folk and electronic surrealism in Hoodie Craw (2020 version); and Witch Lover which approaches spooky folklore with a sense of humour. The dreamlike ambience of Our Light fills the head with sound-pictures of forests, birdsong and starlight; Watching Bleep and Booster, Aged 8 opts for a retrofuturistic experimental approach with sci-fi whirrs and bleeps; and The Quarrymen sets spoken word to airy woodwind and dizzying tape manipulation. The album ends with the aptly titled Contrasts, in which medievalesque folk beauty is evocatively interwoven with field recordings, from gentle nature sounds to boisterous overheard banter. Available at kitchencynics.bandcamp.com

PEDALJETS Twist the Lens CD/LP/Download (Electric Moth)
Kansas City's Pedaljets have existed on and off since 1984; until now they've escaped my attention, and if this album is anything to go by, it looks like I've been missing out. The band bring together super-melodic pop with the spikier sounds of alt-rock and post-punk. Placid City Girl is superb ringing janglepop with a strong sense of melody and harmony, calling to mind a mixture of REM and The Byrds. Loved a Stone is essentially powerpop, pairing a punked-up driving rhythm with a strong melody, while atmospheric electronic undercurrents make the song stand out from the powerpop crowd. Transfer is Done combines the edginess of alt-rock with the melody and harmony of The Byrds; in addition I'm hearing shades of Grandaddy and the highly underrated 90s band Subaqwa. This is Sepsis has a post-punk dissonance and snarl, shot through with tense riffage straight out of a vintage spy movie. One Away is a melding of 60s pop melody with rock 'n' roll attitude. Sleepy Girl is lazy hazy pop with tinges of The Beatles and 60s psychedelia viewed through a contemporary alt-rock lens. Some real gems on this album. Find out more at www.thepedaljets.com

PEFKIN Celestial Navigations LP (Morc)
Pefkin is the solo project of Gayle Brogan, also of Electroscope, Barrett's Dottled Beauty, Burd Ellen, and Meadowsilver. Her 15th album in 20 years as a solo artist, Celestial Navigations, has a loose theme of Arctic exploration, and is firmly rooted in nature, with vivid aural depictions of starlight, birds, and the Aurora Borealis. The themes explored in the music are beautifully portrayed in the astonishing cover art by Alan Davidson of Kitchen Cynics and Barrett's Dottled Beauty.
The title track is ambient space pop with glacial drones, whirring analogue synths, and the ethereal beauty of Gayle's voice. Tulungusaq is airy, dreamlike experimental pop with lyrics inspired by Inuit mythology, featuring an intermingling of thumb piano, sweeping Mellotron orchestration, atmospheric violin, and perfect vocal harmonies. Numenius Borealis is a stark, brooding experimental composition with celestial choral vocals.
I Am John Rae is a beautiful psych-folk song telling the story of the eponymous Orkney-born explorer, with a traditional folk-inspired melody set to a heady arrangement incorporating violin, synth, zither, and liquid psychedelic guitar courtesy of Alan Davidson who appears as a guest musician on this track. Aurora Borealis perfectly recreates the Northern lights in music with the eerie whoosh of the Aeolian Chimes, a musical sculpture made by Orkney artist Fiona Sanderson, alongside swirling, pulsing and humming violin and synth sounds and a traditional-inspired folk melody sung in clear, pure vocal tones.
A beautifully evocative, atmospheric album from a highly original artist who sounds like no-one else. More info at www.pefkin.com and www.morctapes.com

DIANA COLLIER Ode to Riddley Walker CD/LP/Download (Rif Mountain)
Second solo album from former Owl Service and Greanvine vocalist and multi-instrumentalist Diana Collier, featuring guest appearances from members of The Owl Service, The Memory Band, Lost Harbours, and Liberez. The title track is delicate, sparse contemporary folk inspired by Russell Hoban's novel of the same name, giving way to a darkly moving, ancient-sounding interlude in which bowed banjo is played to sound like a medieval instrument alongside similarly medievalesque chanting, before returning to the song's fragile, spare beginnings. Balm has an off-centre approach to folk songwriting that recalls Lal Waterson. There's a stark, instrumentless rendition of The Bonny Hind, a bleak traditional ballad in which a couple unwittingly embark on an incestuous relationship, the woman committing suicide once it becomes apparent that they are in fact siblings. Margins is melancholic, delicate contemporary folk underscored by cymbals employed to create atmospheric sound effects that diverge far from their straightforward percussive use. Friends is a thoughtful song that calls to mind melancholic indiepop bands such as Brighter, placing this type of songwriting within a folk setting. The album ends with another traditional song, On Christmas Day It Happened So, with an evocative, cinematic arrangement built around minimalistic bass and ethereal soundscaping. A very lovely album, released in a limited edition of 50 CDs or 100 LPs - get it at folknotfolkdianacollier.bandcamp.com

STEVE PALMER Useful Histories LP/Download (Sunrise Ocean Bender/Deep Water Acres)
Minneapolis guitarist Steve Palmer's second album, co-released by Sunrise Ocean Bender and Deep Water Acres, on black vinyl or limited edition violet vinyl, plus download code. Statesboro Day is a contemporary psychedelic piece incorporating elements of post-rock, experimental sound sculpture, shoegaze atmospherics and cosmic electronica, juxtaposing hypnotic repetition and flowing improvisational elements. Squalor fills the head with multiple layers of sound, transporting American folk into a psychedelic setting alongside pulsing atmospheric effects. Thirty features a darkly beautiful American folk melody played in an intricate, fluid, psychedelic style. I Am John Titor is an extended experimental composition built around swelling drones creating a feeling of relaxation and inner warmth. Useful Histories is a fully immersive, multi-layered piece in which Steve Palmer's distinctive way of reinventing traditional-style American folk as psychedelia is effectively combined with psych-rock jamming and expressive jazz-like percussion. An inventive album that travels across the boundaries of modern psychedelia, folk, and experimental music in a manner that is eclectic yet cohesive. Available at www.sunriseoceanbender.com or www.dwacres.com

CARY GRACE Lady of Turquoise double CD (Door 13 Music)
Cary Grace is an extremely creative and talented songwriter and musician (as well as maker of handmade analogue synthesisers sold under the Wiard brand), whose work is most likely to appeal to fans of psych, prog and spacerock, while transcending all of those categories. Her latest album, the double CD Lady of Turquoise, includes not only her own talents as a multi-instrumentalist, but the work of nine other guest musicians including three members of Gong, and John Garden who has worked with Alison Moyet and Scissor Sisters. Cary is shown on the cover in an elaborate Egyptian goddess costume, holding an ankh in one hand and an hourglass in the other, seemingly to represent life and the finite nature of life.
The album opens with the gentle, meandering spacerock of Khepera at the Dawn, then there's Letterbox, a creative and effective pop/rock juxtaposition in which atmospheric and inventive alternative pop is punctuated by wild wah-wah-driven psych-outs. Into Dust's melody has the same melancholic character as much traditional folk music, though the overall feel of the song and its arrangement is anything but trad folk. Impassioned vocal delivery, military-tinged drumming, squalling psychedelic noisescaping, and a beautiful interlude of choral-style vocals and church-like bells are combined to create an impressive, innovative mix that defies overall classification. Costume Jewellery is an extended 12-minute-plus track taking in Middle Eastern and Greek traditional influences alongside a heady, hypnotic melange of intense psychedelic rock guitars, cosmic synths and atmospheric use of electric violin, with excursions into largely acoustic singer-songwriter music and filmic ambient effects along the way.
Sacrifice combines a soulful melody and vocals with snaking guitars and organ. Memory is brooding balladry incorporating a dramatic and intricate prog rock interlude. Castle of Dreams takes in a variety of moods and styles over its 11-minute-plus duration, beginning as an uptempo, strongly melodic song with a driving rhythm and powerful vocals alongside intense, feverish psychedelic guitar, giving way to a more laid-back, almost meditative style, with music that travels across the boundaries of psych and prog, with darkly atmospheric, almost gothic tendencies at times. The Land of Two Fields is an analogue synth-led instrumental coming across like a psychedelic reinterpretation of vintage soundtrack music. The title track closes the album - a strong, catchy pop-rock song with a real earworm of a chorus, propelled by a hypnotic chug and ornamented by swirling analogue synths and fluid psychedelic guitar, making for a truly mind-altering experience. Find out more at www.carygrace.com

ANDY B This Is Our Time and Other Songs Volume One and Two CDRs (Pastime)
The ultra-prolific Andy B returns with several new homemade albums, these three plus a couple more that are still in the review queue. As with Andy's other albums recently reviewed in Aquamarine, This Is Our Time is a collection of re-recorded songs from his back catalogue. Another Rainy Day is melancholic indiepop fleshed out with swirling keyboards and lively drumming from guest drummer Chris Head. I Can Read You Like a Book features wistful and nostalgic sentiments, juxtaposing melancholic verses ornamented by Brighter-ish keyboards with a jaunty bedroom pop chorus. Catch My Breath is strongly melodic indiepop with nice vocal harmonies, offsetting lyrics of sadness and regret with biting fuzzy guitar and uptempo drumming. Night Comes Down is on the spikier side of indiepop, bringing in a darker, harder edge with the addition of boisterous punkiness and gothic gloom, yet there's still a catchy chorus accompanied by retro organ and fuzzy guitar that manages to sound almost like a trumpet, lending a triumphant feel to the song.
Other Songs Volume One features a number of songs that are unfamiliar to me alongside reworkings of older material. It emphasises the noisier side of Andy B's output, with songs like Can't Move On, Cold Feet, Warning Bells, Playing Tricks and I Like Your Style, that set heart-on-sleeve lyrics to rollicking noisepop accompaniment. Your Chance Has Come and Gone takes a different approach from the rest of the album, its minimal arrangement based around acoustic guitar and tambourine emphasising the melancholic nature of the song. Other Songs Volume Two includes such songs as Leaving Town which is inspired by the classic era of indiepop and balances a certain sense of sorrow with a strong melody that stays in the head. Fantasy World looks back on a failed relationship with resentment ("Living with you was being a dead man walking / Living with you was pointless beyond reason") within an airy, wistful early 90s-style indiepop arrangement. Get Out of My Hair filters shades of 60s garage through a DIY noisepop lens. How Does It Feel sees Andy getting his own back on a school bully within a mod-tinged, retro organ driven indiepop setting. More to follow from Andy B in a few weeks; in the meantime these albums are available on CD at pastimerecords.webs.com or download at pastimerecords.bandcamp.com

VARIOUS A Band For All Seasons 4 CD box set (Fruits de Mer)
A couple of years ago, Fruits de Mer Records released the triple LP The Three Seasons, with covers of songs from 1966, 1967 and 1968, which I reviewed here. This sold out immediately, and the label has now issued a massively extended version, A Band For All Seasons, which now covers 1966-1969, with 61 tracks spread across 4 CDs. It features several bands who were around during the original era that the album focuses on, including some very famous ones like The Yardbirds and The Pretty Things, as well as many newer underground artists. In addition to the tracks already mentioned in my original review, these are just a few of the songs that are included on the new extended edition.
Bhopal's Flowers appear with an Indian-influenced version of Cream's I Feel Free, combining blistering psychedelic rock with laid-back, atmospheric sections based around sitar, tanpura and tablas. Spygenius contribute a jangly psych-pop medley of Traffic's Paper Sun and The Monkees' Love is Only Sleeping. Mysterious Clouds featuring Your Friend's version of Mobius Trip by HP Lovecraft is mellow psychedelia with jazz-informed drumming, echoey spacey synths, and even a touch of Erik Satie-ish piano. Moon Goose cover Faine Jade's It Ain't True, combining heavy riffage, squalling noise and forceful vocals with vocoder and retro synths. July contribute a 2016 live version of their own My Clown from 1968. Elfin Bow and Gary Lloyd's version of The Small Faces' Autumn Stone begins as sophisticated, reflective piano balladry, giving way to smouldering psych rock infused with neoclassical beauty. The Telephones do a version of The Move's I Can Hear the Grass Grow, suffused with chiming jangle. Fuchsia cover Pink Floyd's See Emily Play, with a very lovely arrangement featuring orchestration and folky touches.
Vert:X reinvent Emotions by Love as an instrumental with squalling fuzz guitar swathed in swirling, whooshing cosmic synths. Schizo Fun Addict cover the 1950s song Dedicated to the One I Love by The 5 Royales, which The Mamas & The Papas did a version of in 1967. Schizo Fun Addict's interpretation of the song is ethereal and inventive; it has a basis in dreampop while being tinged with a surfy twang, plus music box-like keyboard adding to the dreamlike effect. Nathan Hall provides a demo version of the Bee Gees cover, Please Read Me, the final version of which was released earlier by Fruits de Mer as a single by Nathan's band Soft Hearted Scientists. This demo version features strummed acoustic guitar wrapped in Indian-style drones, harpsichord and vocal harmonies. LoveyDove's version of The Flies' Gently As You Feel is uplifting, catchy pop, much like a softer, airier Teenage Fanclub.
Crystal Jacqueline Acoustic Band appear with a version of Pink Floyd's Grantchester Meadows, its almost medieval melody and vivid nature-inspired lyrics underpinned by a hypnotic rhythm, and ending with an intricate psychedelic instrumental section that paints pictures in my mind of sunlight dancing on a river. Back Street Carnival provide some baroque psych-pop whimsy in Pretty Song from 'Psych-Out', originally by The Strawberry Alarm Clock. Claudio Cataldi with Aldo Ammirata reinvent The Velvet Underground's White Light, White Heat as the kind of slightly dissonant 1990s-style lo-fi indie-rock that takes me back to my days in the 90s DIY tapes scene, before ending with a brooding, cinematic cello section which adds an element of neoclassical sophistication to the piece.
The box set sold out very quickly at the label, but at the time of writing is still available from various online shops/distros. For more information visit www.fruitsdemerrecords.com

THE LOST STONED PANDAS Tune In... Turn On... Get Panda'd double LP (Fruits de Mer)
The Lost Stoned Pandas are a Sendelica offshoot that also includes current and former members of Astralasia, Curved Air and Space Ritual. Their name was inspired by a surreal panda gif found on the internet, and the tracks' running order (track one is entitled Track Seven, track two Track Four, and so on) reinforces the album's general sense of bizarreness. Track Seven - Wild Witch Black Panda Mix combines a weird abstract mix of cut-up samples and woozy spacey noise with magical ritual recitations, world music-infused floaty ambience, and a rather lovely folky melody that gradually becomes more and more psychedelic as the piece progresses. Track Four - Noah's Marc Mix opens with a soft, airy guitar and analogue synth piece combined with birdsong and cattle sounds, giving way to a violin melody that bridges the gap between folk, prog, psych, even a touch of classical at times, with gentle pastoral moments alongside moments of intricate intensity, before segueing into a section with prog guitar and whooshing spacey synths accompanied by baaing sheep.
Side three is made up of three shorter tracks that meld together to form a long piece nearly 22 minutes in length. This multi-part piece comprises Track Six - Bamboozled Mix, in which vibrant folk fiddling is underlaid with hypnotic electronic rhythms and spacey effects; Track Seven - Waltzing Me Panda Mix which revisits the melody from the earlier version of Track Seven amidst a shimmering ethereal setting; and Track Five - Yangtze Basin Mix, propelled by a throbbing electronic dance pulse, and featuring elements familiar from late 80s house, such as that effervescent synth sound that crops up here and there. Over on side four you get Track Three - Into the Hadron Kaleidoscope Mix, a multifaceted piece that drifts feverishly across abstract discordant experimentalism, electronica, prog, and improvisational psych-rock. The album combines the seriousness and virtuosity of prog with a surreal sense of fun and an exploratory disregard for genre barriers. Available at www.fruitsdemerrecords.com

VARIOUS The Half Time Orange CD (Fruits de Mer)
14-track compilation CD given away free to Fruits de Mer's regular customers who buy the March 2020 batch of releases. Some artists will be familiar names to followers of Fruits de Mer, while others are new to the label. The album covers a broad selection of sounds that come under the psychedelic umbrella, though the poppier side is well represented here, including a few tracks that have some element of crossover with indiepop - undoubtedly a good thing from my perspective, considering that the true underground indiepop scene from the late 80s/early 90s has great importance to me as it was what first alerted me to the existence of music outside of the charts, completely changing my life in the process.
There are three bands here who also appeared on A Band For All Seasons, contributing some of my favourite tracks to both compilations. There's the psychedelic janglepop of Bhopal's Flowers, the mellow, dreamy pop of LoveyDove, and The Telephones whose track here would sound exactly like classic 80s indiepop if it wasn't for the fluid psychedelic guitar the song is overlaid with. the black watch appear with the psych mix of Crying All the Time, from their 7" on Hypnotic Bridge Records, combining fuzzy noisepop and soaring Mellotron orchestration to create a highly atmospheric listening experience. The Lemon Clocks opt for an authentic 60s vibe with their combination of rollicking garage rock, wild psych guitar soloing and catchy pop sensibility. Man & Machine make laid-back songwriting with folky tinges, swathed in an ethereal, psychedelic shimmer. Very different from my other favourite tracks here, but still enjoyable, is Kris Gietkowski's twisty-turny prog instrumental, Providers of Enlightenment Networks, taken from his forthcoming album. Find out more at www.fruitsdemerrecords.com

MARK McDOWELL AND FRIENDS Breakthrough CD/LP/Download (Friends of the Fish)
Following on from Mark McDowell and Friends' excellent 2017 album Dark Weave is new album Breakthrough, out on Fruits de Mer offshoot Friends of the Fish. This is a multifaceted album with an inventive mix of styles brought together to form a cohesive whole. Wedlocked is gentle folk-pop with acoustic jangle swathed in airy synths; whilst there's a clear 1960s influence here, it also has that slightly wistful, reflective and dreamy feel that will appeal just as much to indiepop fans. Breakthrough starts off with a darkly medievalesque tune played on electric guitar and underlaid by hurdy-gurdy drones, much in keeping with the 1970s electric folk sound and leading the listener to expect something along the lines of Steeleye Span or Fairport Convention. The piece is then transformed into something else entirely with the introduction of a hypnotic bass line, cosmic analogue synths, and intense squalling psych-rock improvisation, making for a truly mind-altering listening experience. Starstreamer is a kind of cosmic raga, combining Indian influences with whirring and whooshing spacey synths, heady and heavy psychedelic guitars and hints of British and American folk. Sit 13 is an effective blend of garage rock, spacey electronics and psych-folk. First Light is very lovely summery janglepop, psychedelic and folk-tinged enough to draw comparison to the 60s West Coast sound, yet having just as much indiepop appeal for the same reasons as Wedlocked. A very creative album taking psych-folk into new territories, getting my highest recommendation. Available at markmcdowell.bandcamp.com

DAVID CW BRIGGS I Failed You CDR/Download (Folk Archive)
DAVID CW BRIGGS Neverywhere I Go CDR/Download (Folk Archive)
REGIONAL IDENTS Channelling 2 CDR/Download (Folk Archive Electronics)

Three recent releases from David CW Briggs' homemade CDR label Folk Archive. I Failed You has ten songs packaged in DCWB's trademark style of surrealist collage art. Tails Fold Away sets observational lyrics about birds, incorporating some very appealing poetic metaphors, to a combination of bouncy eccentric pop and raw psychedelic blues. I Failed You is bedroom pop with psychedelic undercurrents, balancing melancholic, world-weary sentiments with a sense of optimism. People Will Turn is off-centre pop somewhere between Syd Barrett and the Television Personalities. There are also a couple of really lovely instrumentals; the eerily beautiful psych-folk of Guitars are People and the reflective psychedelic piece Memory Lane, which calls up images in the mind of meanders through nature, of dappled light in woodland and sunlight dancing on a river.

Neverywhere I Go is released under the punny, and very apt, tagline "Home Taping is Killing Muzak". There's We Sell Kites, really great sunny janglepop with a dreamlike psychedelic outro; The Waking Dream, reflective lo-fi songwriting set to delicate folky guitar, train-horn-like harmonica and subtle undercurrents of psychedelia; and Billy which incorporates samples from the film Billy Liar into psychedelic blues improvisation. Country Layne is the album's near-10-minute centrepiece, delightfully raw psych-rock balancing the atmospheric with the fierce. Forceful verses delivered with a punky snarl are offset by a chorus that soars like its 'shooting star' lyrics, accompanied by thrashy garagey guitar, stabby organ riffs and psychedelic guitar improvisation. The Psychiatrist is an instrumental combining moments of great beauty with a brooding sense of unease; there's a twisty-turniness to the piece that has an almost prog quality, while being completely devoid of the OTT pomposity that genre has been known to suffer from.

Out on Folk Archive's electronic arm is the second part of Regional Idents' Channelling, compiling twenty tracks previously issued as digital EPs. There's a mix of retro synth instrumentals inspired by theme- and incidental music from 1980s TV shows, and altogether darker experimental compositions steeped in the music/art/philosophy movement known as hauntology, having much in common with many of the music projects that appear on A Year in the Country's themed compilations. Nuclear Family has the tense atmosphere of a dystopian horror movie, its title clearly a play on words, with connotations of a family living under threat of nuclear warfare. Cold War is a sinister piece that creates a feeling of unease with its insistent militaristic riff underpinned by an urgent, on-edge buzz. The Rock Machine Turns You Off combines busy electronic beats and repetitive mechanical sounds. Maths Module and Learning Module 1 sound, as expected from the titles, like music from childrens' educational TV shows of the early 1980s, using vintage synths for the authentic retro effect. I Am You Are sets the robotic voice of a Speak & Spell to whirring, burbling electronic machinery. Dial Tone would sound at home in the background of some forward-looking science documentary of the early 1980s. Followers of the A Year in the Country compilation series will definitely find much to like here.
Each CDR is limited to just 10 copies, while downloads are also available. Visit davidcwbriggs.bandcamp.com and regionalidents.bandcamp.com

STEPHEN PRINCE The Corn Mother novella and The Corn Mother: Night Wraiths CD (A Year in the Country)
Back in 2018, A Year in the Country released the compilation The Corn Mother, centred around an imaginary film of the same name. Since its release, AYITC founder Stephen Prince found thoughts of the film and its characters still in his mind, as though the story was unfinished. His continued imaginings resulted in the creation of The Corn Mother novella and its accompanying soundtrack, The Corn Mother: Night Wraiths. The book is made up of micro-chapters much like diary entries told from the perspective of an assortment of characters. The first part is set in the 19th century, when a nature-loving woman named Ms Jessop is accused by superstitious villagers of being a witch who cursed their crops. After her house is set alight, she wreaks revenge by poisoning the villagers with paranoia-inducing psychoactive herbs and haunting them in their sleep.
Fast forward to the 1970s and 80s, when plans are made for an ill-fated film based on the same story. Years in the making, the film reels, soundtrack tapes and promotional material end up mysteriously disappearing after the production company goes into receivership. By the 2000s, this lost movie has acquired a mythical status, and the next part of the book concerns a film buff called Andrew and his quest to uncover solid facts about this mysterious film. The final part is set in the future, when the film reel turns up in a house clearance. The ending is left deliberately up in the air, allowing the reader to imagine what happens next, and leaving the possibility open for a sequel. It's a gripping read, and cleverly told, with pop-culture references and current affairs of the time seamlessly interwoven with the fictional story.
The Corn Mother: Night Wraiths CD comprises seven tracks, each inspired by an episode in the book. The Infernal Engines evokes the sound of metal on metal, like 19th century machinery creaking into action. Night Wraiths is a chilling drone piece conjuring up the paranoia and unease experienced by the villagers poisoned by Ms Jessop's herbal concoctions. Ellen's Theme is imagined as being composed by Ellen, the character in the novella who created the film's soundtrack. Ellen is partly inspired by women such as Delia Derbyshire who play an important part in the history of electronic music, while her theme music shares a similar brooding atmosphere to Vangelis' Blade Runner soundtrack. They Are All Here is a sound-picture of reality unravelling in a truly creepy and startling manner.
Whilst composed as a soundtrack to accompany the novella, The Corn Mother: Night Wraiths can also be appreciated as a standalone work of experimental ambience that taps into the spirit of authentic vintage synth-based film music. Contact www.ayearinthecountry.co.uk

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