Kula Shaker - K2.0

Reviewed by Chris Sherman (Sky Picnic)

This year marks the 20th anniversary of Kula Shaker’s debut record "K" (and the 21st anniversary of the band’s formation), so it is only fitting that a new album has been released at this juncture, as well as after their second prolonged hiatus this century (the first from 2000-2005, the last from 2010-2015). I can’t lie when stating that I had no idea what to expect from the new album "K2.0"; I tend to try and manage expectations when a favorite artist releases anything new, let alone when reforming for a second time. Within the first 25 seconds with the sounds of the Indian instrumentation fading in, "K2.0" delivers exactly what you would want from the band. Whereas 2006’s "Strangefolk" found them trying to re-establish an identity following an extended hiatus (albeit with a few missteps), and 2010’s "Pilgrim’s Progress" was a welcome, understated departure into folkier sounds (and in reality, the perfect, logical pre-cursor to "K2.0"), here Kula Shaker sounds almost reborn, yet older and wiser.

Album opener and lead single “Infinite Sun” has been stuck in my head firmly for the last three days (“Everything she touches changes…”) and could easily fit in on either of their massive nineties LPs, complete with sitar solo and chanted vocals. From what I understand, that assessment is not far off, as Crispian Mills stated in a recent interview that it’s a song they’ve had for a while, but had yet to record. Solid stuff to kick things off and setup what is to come. From there, “Holy Flame” introduces an acoustic vibe, before a ripping chorus takes over. “Let Love B (With U)” is a song the Doors never wrote, with all the bounce and organs you would expect. “Here Comes My Demons” is about as prog rock as Kula Shaker can probably get, with three pretty distinct sections over a sprawling six-plus minute song.

I swear “Oh Mary” starts out with a sample of Paul McCartney talking (from "Magical Mystery Tour"?), and as I sit there pondering that, I miss out on a very Beatle-esque song, a simple and warm rocker. “High Noon” evokes scenes from a western, and could very well have been on "Pilgrim’s Progress". “Hari Bol” continues the Kula Shaker tradition of Hindi religious chants on their records, this one a meditative number that one only wishes lasted a few more minutes. The LP wraps up with what should be considered the highlight of the LP (and perhaps even in the latter portion of their catalog) in “Mountain Lifter”. The song climbs as it progress, with a fiery guitar solo and organ which crescendos (with some restraint) to the conclusion of the album.

And I would be remiss if I didn’t mention the art, which is not only one of the more beautiful and striking covers you will see, but also fits nicely as a companion piece to "K". And just like that, everything comes full circle. It’s not as grandiose as 1999’s "Peasants, Pigs and Astronauts", and is obviously not full of the youth and energy of "K", but that’s already been done; this is Kula Shaker’s next chapter, and thus far, it’s a good read.

Available here (UK/EU), and here (US).

Harpers Bizarre - The Complete Singles Collection 1965-1970

Reviewed by Nathan Ford

Harpers Bizarre seem to have a hard time getting kudos from critics and collectors alike, often written off as a sort of pale imitation of their biggest competition in the sunshine pop stakes, the Association, but there's more substance on display here than you've been led to believe.

Their criminally under-rated (and hard to find) third and fourth albums are still the place to find the band at their best, but this excellent new collection of complete A & B sides from their prime years certainly paints an impressive picture that most likely doesn't correlate with the one that you've built up in your mind.

Things kick off with some surprisingly Beatlesque rockers from the time when the band were recording as the Tikis (and following pressure from another band of the same name, the Other Tikis). These sides offer a glimpse of an intriguing garage / beat alternative future which the band were surprisingly adept at.

These early singles were enough to get the band signed to Warner Bros. where Lenny Waronker took the band under his wing, producing and arranging four albums and numerous singles. The band struck it big straight away with Waronker's inventive arrangement of Simon & Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)", but his subsequent choices of material were hit and miss. Covers of Cole Porter and Glenn Miller tunes must have seemed hopelessly out of touch at the time, and no doubt have partially led to the band's middling reputation now. Fortunately these missteps make up only a fraction of their output featured on this collection, with material from up and coming songwriters like Randy Newman, Harry Nilsson and Joni Mitchell being more representative.

As Waronker began to embrace the psychedelic vibes of the times things get progressively more interesting and diverse. While pure sunshine pop fare like "Malibu U" and "Come to the Sunshine" are flawless examples of the form, highlights for me all come in the more adventurous second half. "Witchi Tai To" is an inventive vocal arrangement of a Jim Pepper tune (derived from a peyote song of the Native American Church which Pepper had learned from his grandfather) with a delicate, gossamer production. The theme song to the Peter Sellers film "I Love You Alice B. Toklas" is a great piece of Eastern tinged psychedelia. Then there's a radical rearrangement of "Knock on Wood" which is an absolute stunner, gentle and trippy in equal measure.

And there's a lot more to investigate among the 26 tracks found here. It's time for a reappraisal of Harpers Bizarre I reckon, and this makes a very fine 'exhibit A'.

Available here (UK/EU), and here (US).

Astrodome - S/T

Reviewed by Joseph Murphy

On their first full length, Porto, Portugal’s Astrodome brandish their instruments with a ferocity that makes them akin more to the forefathers of heavy psych, stoner rock and doom than the more-recent uptick in those genres. From beginning to end, their self-titled debut sounds well-worn and perfected by age. This is an incredible feat for a relatively new band with only a live demo to their name previously.

Only six songs – albeit long: three all new, three re-recordings from their earlier demo – “Astrodome” clocks in at about an hour, and each track makes fine use of the long form, containing movements and jams that don’t necessarily always add up to blissed out leads (though it’s just as good when they do). Closer, “Coronation,” includes an extensive drum solo, which is refreshing. Astrodome is doing a lot for the genres they inhabit, proving their worth, while also seeing beyond the limitations of their idols and peers. I haven’t heard Astrodome’s name around too much yet, but I think it’s only a matter of time.

The opening bass line of “High Spirits” is an artful feint; the track could, with the fast-paced riff, take any direction, but the one it chooses is less-traveled – a crisp, atmospheric progression against thundering drums. By the time the song changes pace – about five minutes into the eight minute song – it’s perhaps a little closer to what you expect from a track named “High Spirits.” It’s all searing guitar leads and gritty grooves. But the juxtaposition of the song’s halves is what sets Astrodome apart.

The first of three re-recorded songs from their earlier demo, “Into the Deepest Space” again matches atmosphere (warbling feedback and dense, reverbed chords) with heavy blues, living up to their “ϟ PRAISE IOMMI ϟ” website title. At nearly seventeen minutes, the track has plenty of room to breathe and explore the permutations of the progression, play a bit with the rhythm, and generally space out – well, way out. Considering Astrodome’s obvious love for fuzz, they manage to work some beautifully clean, almost pristine moments throughout the record. If for any reason you’re unsure about an instrumental album – though I don’t think many readers here will be – this one will make you a convert.

Stream all of “Astrodome” on their Bandcamp page – or get it in digital formats or on cassette here.

Pulselovers - S/T

Reviewed by Grey Malkin (The Hare & The Moon)

Pulselovers, the project of Doncaster based musician Mat Handley (who also hosts the excellent 'You, The Night And The Music' radio show), is described by its creator as 'the culmination of 30 years of procrastination'. Perhaps so, but maybe also the conclusion of much careful construction, effective intuition and perfectly chosen collaboration, resulting in this superb and richly detailed début album that by turns astounds, affects and impresses.

Instrumental 'Ronco Dream' opens the album in a beautiful though ominous sci-fi haze of drone and keyboard mists, with a carefully picked guitar (by Graham Sutherland of Fallen Trees) shimmering throughout. It's a seriously atmospheric and effective introduction to the album ahead and recalls the majesty of This Mortal Coil and fellow 4AD artists in its swirling, otherworldly grandeur. This is followed by the percussive and motorik 'It's All In The Detail', electronic clicks and echoes driving the song ever forward accompanied by glacial keyboard washes, piano (by Mat's son Raven) and suitably anthemic vocals from Handley himself. A warning about environmental collapse, it has an underlying sense of dread whilst retaining a pulsating power and the feel of the epic. Next, 'Soundtrack 5' is a dark slice of electronica; vintage keyboard sounds growing and layering amongst reverberated percussion and analogue harmonies. With a hint of the icy, Ballardian scope of John Foxx's classic 'Metamatic' and Ken Freeman's theme to BBC's The Tripods' this track is perhaps best listened to on a long, night-time drive through the cityscape. Allan Murphy of fellow electronic experimentalists Midwich Youth Club adds further synthesis and the track itself is a triumph, a gliding frozen thing of beauty. 'Saturnalia', based on the ancient Roman tradition of bestowing slaves with wine, food and gifts for one day in order to keep them better in submission for the rest of the year (and with a hint that this practice may still be used by our political masters), is a spoken word piece adorned by a rich tapestry of synth strings, echoed guitar and hypnagogic sounds; a veritable electronic symphony that drifts and floats lysergically throughout to superb effect.

'Last Day Of Summer' begins with the sound of birdsong and a ship's horn before transcending into an electro-raga, the buzz of sitar and eastern melodies echoing across a vast landscape of sound. Written by Handley during a two month stay in India this stands as an album highlight amongst many fellow gems. 'Spirit', a twisted love song with vocals by Craig Manga (of MangaBros) lifts inspiration from early 80's synthpop and is all the more effective for it, a heartbreaking Depeche Mode style melody lifting the hairs on the listener's neck whilst provoking a tear or two. 'Autumn Arrives' is by turn a delicate and lovely track that swells, ebbs and flows gently throughout; a mood of quiet resignation and reflection permeates as the melody makes a permanent and welcome home in the listener's memory. Fans of the Ghost Box label, the afore mentioned 4AD roster and acts such as Concretism, Midwich Youth Club, The Heartwood Institute and Polypores will find much to adore here. 'Phantom Cinema' changes the pace dramatically, roaring into life on a pulsating keyboard bassline and an insistent cosmiche drumbeat. Hugely thrilling, this ably demonstrates the scope of Pulselovers powers; by one turn haunting and wistful by another driving and anthemic, this is an album of diverse and consistently fascinating musical jewels. 'Red Eden, White Nights' introduces the highly effective vocals of Blurred Girl from Promenade Cinema which gives the track a 60's beat sheen, whilst album closer 'Flatlands' is a tense, guitar and organ driven piece of carefully wrought atmosphere and mood, an electronic travelogue.

Pulselovers then is an assured, mature and sophisticated début that comes highly recommended for lovers of electronica, hauntology and highly atmospheric, emotionally charged music. This music is alive with possibilities and imagery, its pulse is beating strongly, rhythmically and determinedly here; seek this out.

Available now on a professionally duplicated CDr with individually hand silk screened artwork from Nick Taylor and as a download from Pulselovers Bandcamp site.

The Kinks Live November 27-29, 1969 Fillmore West, San Francisco, CA - Soundboard

It's hard to find good quality live material from the Kinks in their prime, but here's a great quality soundboard recording from a series of shows recorded at the fabled Fillmore West in November 1969 - some of their first US shows after a four year ban.
Village Green and Arthur had both been recently released, but had performed poorly in the US commercially. This didn't stop Ray and co. from mixing plenty of their newer, more rarely performed material amongst the hits for a fascinating cross section of sixties Kinks. Great stuff!

Tracklist:
1. Till The End of the Day
2. Mindless Child of Motherhood
3. Last of the Steam Powered Trains
4. You're Looking Fine
5. Mr. Churchill Says
6. Big Sky
7. You Really Got Me
8. Love Me Till The Sun Shines
9. Brainwashed
10. Milk Cow Blues / See My Friends / Tired of Waiting For You / Brainwashed
11. Louie Louie
12. Victoria
13. A Well Respected Man / Death of A Clown / Dandy

Download 320 mp3 here.

In The Cities of Your Eyes

Reviewed by Nathan Ford

Here's an unusually adventurous and rewarding compilation album. Assembled, I believe, by Rebecca Loftiss (The Gray Field Recordings) and Alan Trench (Temple Music), both based in Greece, this is a benefit album for refugees residing in camps in insular Greece, with all proceeds going to camps on Lesvos, Chios, Samos, and Leros.

Bandcamp provides a great platform for charity compilations, reducing production costs to next to nothing. As a result of this, more and more are cropping up recently. Often, these collections are hastily assembled, and all over the place stylistically, but "In The Cities of Your Eyes" is a strangely compelling document, which, despite its diversity, fits together marvelously.

Psychedelic luminaries like Stone Breath and the Legendary Pink Dots' Edward Ka-Spel rub shoulders with the cream of the current underground, mixing psychedelia with atmospheric ambient electronica, neo-folk and more in an ever shifting kaleidoscope of sound. With 23 tracks spread over almost two and a half hours, it's extremely generous, but never feels like too much. Instead, this lengthy playing time leaves plenty of space for some charming explorative work, giving the album a sense of unhurried grace.

Surprises and highlights are abundant here, with Dimitris Panas grabbing the ear early on with the moody "Necropolis (6th of December)", a Nick Cave style chamber piece imbued with a forlorn sense of melancholy, but for this listener the stretch that begins with The Hare & The Moon's "Black Shores" is where things become truly transcendent. "Black Shores"s gripping vocals quickly give way to Martyn Bates' "Fortune", a stunning piece of psychedelic folk which sounds like the mystical psychedelic hymn that Kula Shaker's Crispian Mills has spent twenty years trying to write. The aptly named Elektronik Meditation then expands the album's palette even further with the simmering tension of "Cave", a sinister eleven minute rumination full of widescreen cinematic splendour.

As you will have gathered from the tracks I've mentioned, there's plenty of variety here, and I have noticed that several other reviewers have found the album to be a little incohesive as a result. Maybe I'm approaching it from a different mindset, but I've noticed no such problem, finding that it's an expertly sequenced affair that ebbs and flows marvelously, with an unspoiled, consistent mood maintained throughout.

Highly recommended:

Harsh Vibes - You Left Me Far Behind

Reviewed by Joseph Murphy

The discography of Philadelphia’s Harsh Vibes is relatively small considering the band formed in 2010, but the limited run releases we do have – two cassettes and a new EP, “You Left Me Far Behind” – showcase the band’s hypnotic meditations and frenetic jams, making each long-form song invaluably dense and deserving of repeated listens. The latest from Harsh Vibes – a two side-long song 12” – is no different. Like their predecessors, these songs are unrelenting and without filler – full, at that, of genre-mixing heaviness.

Though like-minded, “You Left Me Far Behind” has a slightly different feel than Harsh Vibes’ earlier cassette releases (2013’s “Dead Collective Soul” and 2012’s “Psychedelic Gin Blossoms), both of which were culled from hours of recorded practice sessions. This year’s EP provides another balanced pairing of songs that are equally as experimental as they are listener-ready, but the five-piece has also managed to expand their already diverse genre-mixing repertoire so that where “Reds Under the Bed” and “Jam Forever” from “Dead Collective Soul” parse wall-of-sound style shoegaze and Neu!-inspired grooves, side A’s “You Left Me Far Behind” explores a darker edge, melding darkwave and heavy psych. The track closes in a froth of atmospheric synth crescendos, searing leads and a trudging stoner-rock riff. What more could you ask for – other than a reverse side?

“I Will Follow You Down” stokes the same fire of dark psych, using just about every other genre for kindling. If not before, the second half of side B strives to capture the feel of the band’s live show, assembling and disassembling noisy riffs with ease. Here is proof of the living band, one that, like the ideal band should, willingly mutates, absorbs and adapts.

Available digitally or on vinyl from Harsh Vibes’ Bandcamp page.

Highly recommended.

Doug Tuttle - It Calls On Me

Reviewed by Shaun Rogan

Ah the dawning of a new year brings a new offering from Doug Tuttle, co-founder of the late lamented Mmoss and now emerging solo artist in his own right. Following his excellent self-titled debut, Doug has teamed up once more with the ever-cool Trouble In Mind label to deliver ‘It Calls On Me’, a considerably less troubled transmission from our man in Massachusetts.

The overall mood of ‘It Calls On Me’, like most of Doug’s work is somewhat melancholy and he clearly remains a seeker of truths. The plaintive messages in the songs are littered with ‘if’, ‘could’, ‘try’, ‘find’, ‘time’ often wrapped in sublime multi-tracked harmony. There also remains a sense of distance between Doug and the listener when engaging with these finely crafted songs. This is reinforced by the record sleeve, which looks all the world like one of those 1970’s private press jobs that the late Patrick Lundborg so enthusiastically catalogued in the Acid Archives book. Doug is a man alone and apart, looking out into the distance like he is waiting for someone/something to arrive. It’s a hugely symbolic image when taken in the context of the music enclosed. Doug is giving you something to consider but not necessarily inviting you in. An interesting paradox that adds a layer of mystique to his work in my opinion that many others fail to capture.

Much of what has made Doug’s output such a joy thus far - his dreamy, slightly off-centre psych-folk-pop-rock and exceptionally tasteful deployment of electric guitar breaks - is intact here but has been stripped back further with the aim, I imagine, of creating as pure a mood piece as he can. To this end he has succeeded impeccably on this brief but hugely satisfying record. It is beautifully crafted with great attention to detail and some lovely referencing of the wider psychedelic and rock canon within its grooves. You guessed I love it already, right?

Opener “A Place For You” throws a curve ball with its faded in intro suggesting a space rock journey before being usurped by some lovely sunshine guitar and Doug’s now familiar and hugely chilled vocals floating over the top. It’s a strong start and quickly followed by the chiming pulsing title track, driven by backwards hi-hat, an endlessly downward chiming guitar riff and bass stabs - all ‘Pebbles-era’ psych flashing. A trip. “Make Good Time” is a beautiful hymn-like rapture that manages the wonderful feat of welding ‘Goin’Back’ by the Byrds to ‘A Message to Pretty’ by Love and is probably the single most beautiful moment on this remarkable record. And this is where much of the record dwells, in a hazy shade of winter, divining the spirit of the late 60s and early 70s and alchemically bringing it to a very ‘now’ sound. “These Times” is pretty and pastoral, a lovely acoustic driven piece with martial beat and those floaty double tracked vocals. “Painted Eye” is psychedelic and has an almost done/kosmiche vibe to it and reminds me very much of the second LP by Soundtrack of our Lives, "Extended Revelation" with its slow deliberate tempo, slide motifs and a killer’ in a meadow-lea’ stun fuzz guitar solo bursting into your ears. A real beauty.

“Falling to Believe” again has that wonderful signature slow sigh vibe that Doug has become a master craftsman at delivering with a truck load of soul and includes a sublimely clever referencing of David Gilmour’s solo from ‘Time’ in the guitar break which given the subject matter of the song is another indication of how much love and care has gone into this record. “Saturday-Sunday” is the longest track on the record weighing in at around 7 minutes, its warm keyboard refrain driving the tune and underpinning the soothing vocals sitting above imploring you to let your Saturday surround you like a blanket of goodwill and restorative power. It’s another winner, especially as it disintegrates into the ‘Sunday’ section - an extended motorik vamp of acoustic guitar, kosmiche drone and pulsing bass riff.

Matters are brought to a dense, jarring, fuzzy conclusion by the spectacularly brief “Where Will You Go” which breaks down and disappears into the ether almost as soon as it has arrived.

Ultimately, I think of ‘It Calls On Me’ as a giant paisley coloured parachute that glides you down through a shimmering winter sky, gently drifting to earth and offering assurance that whilst much of life remains unresolved your landings will be soft and ultimate destination will be the right one. Doug Tuttle has put down a marker for those issuing new works this year and everyone should take note. This one is a keeper.

Available here (US), and here (UK/EU).

Paul Roland - House of Dark Shadows

Reviewed by Grey Malkin (The Hare & The Moon)

Psych legend Paul Roland sees some of his finest early recordings reissued on this expertly compiled compilation from Austrian label Klanggallerie (also home to The Residents). Originally a German only release back in 1985 it collects tracks from Paul's first album along with an assortment of singles whilst also adding five essential and previously unreleased bonus tracks. Roland's music should need no introduction but for any uninitiated listeners, his is a back catalogue of psych riches that range from baroque, string filled tales of wonder, whimsy and terror to full on lysergic garage rock.

When I asked Paul about his thoughts regarding this release he stated 'To be honest I was initially reluctant to release it but as the label pointed out it was a ‘seminal’ album in my career and the one which had introduced me to a European audience back in 1986 plus it had not been released on CD before. (The version released by New Rose/Fan Club in 1991 included four re-mixes, not the original versions). But the clincher was the opportunity to include five previously unreleased songs from my overflowing archive which make it rather special I think'.

'House Of Dark Shadows' contains several of Paul's immediate classics such as the ominous, synth-accentuated anthem 'Blades Of Battenburg' and the chamber psych pop of 'Burnt Orchids'. The mastering is exemplary. These tracks (some roughly thirty years old) sound crystal clear and Roland’s richly textured and detailed mini-symphonies sound immediate, resonant and powerful. Roland’s skill as a teller of tales is evidenced on the masterful acoustic reverie of 'Madelaine', a twisted and eccentric yarn of insanity that is bolstered by backwards streams of guitar and swells of violin. 'Dr Strange' is a psych/ new wave hybrid that both the Psychedelic Furs or Robyn Hitchcock would have been equally proud to write, whilst 'The Puppet Master' creeps and crawls subtly into your psyche, an uncanny masterpiece that references both Amicus movies and TS Eliot. Next, 'Captain Blood' blends synth strings, strident guitar and acid tinged flute with impressive results, creating a brooding and thrilling blast of psychedelic rock whilst following track 'Death or Glory' also evidences Roland's anthemic side. 'Cairo' is a mysterious and disquietening paean to the east, flute swirling around tabla, harmonium and acoustic guitars while Roland’s distinctive vocals and lyrics conjure up an entire landscape in the listener’s mind.

'Green Glass Violins' is a string laden slice of perfect cosmic pop complete with glistening harpsichord; if the more baroque side of Roland appeals do seek out his chamber classic 'A Cabinet of Curiosities'; you will not be disappointed. 'Lon Chaney (1883-1930)', a folk shanty dedicated to the horror Meister and 'Ghost Ships', a hallucinatory piece of paisley coloured genius, end the album proper. However we are also gifted with the five unreleased bonus tracks which prove equally as essential. 'Midwych's demented acoustic and xylophone harmonies need to be heard to be believed whilst 'Shiloh' is a stroke of musical genius. What initially comes across as a jaunty acoustic and organ based folk number emerges as something altogether more darkly doomed indeed. 'Versailles' recalls Roland classics such as 'The Great Edwardian Air Raid' and 'Wyndham Hill' and one wonders how such gems have lain in the vaults for so long. The superb 'Count Magnus' stalks by means of plucked bass and the peal of bells, Hitchcockian strings eventually emerging to dramatic effect. The album closes with 'Summer of 1910', a sepia tinged melancholic treasure propelled by a military style snare and an increasing sense of dread of the global storms ahead.

All of Roland’s catalogue is highly recommended and it is gratifying to see some of his earlier work being presented in such a considerate and thoughtful manner. For fans this album will be essential on account of the unreleased material; for others it offers an excellent introduction to one of the UK's finest and most individual songwriters.

CD or digital available here:

Magic Shoppe - Interstellar Car Crash

Reviewed by Nathan Ford

Boston quintet Magic Shoppe have a fresh new EP of delectable, reverb-drenched treats on the street as of early February, and it's a great place to start for the newcomer, as well as an extremely satisfying new chapter for those who've been following them for a little while.

Frontman Josiah Webb recently admitted in an interview with The Artery that he hates the term 'psych', going on to clarify "As a genre, so many bands use that word. It’s overblown, it’s lost it’s meaning. It’s become the new ‘alternative.'" It's a sentiment that few could argue with, with bangwagon jumping bands, and grasping-at-straws publicity agents eager to grab themselves a spot on the psych-sphere, on the coat tails of Tame Impala and co., despite a large number of these bands being at the heart of it, guitar rock bands.

Despite Webb's frustration with the genre's shifting scope, there's little doubt that Magic Shoppe are a psychedelic rock band - not one of these newer generation 'psych' bands, but the real deal. The trimmings are all there, from the colourful light shows that accompany their live performances, to the walls of reverb on the guitars, to the sixties derived spelling of the band's name. But it's not just a case of ticking the required boxes. There's plenty of substance beyond the style.

"City Alight (Yeah)" (which you can check out the video for here) is a great primer for what to expect here, a psychedelic shuffle with a great dynamic, heaps of hooks and an appealling rhythm that seems to draw from a tribal, Native American palette. "Redhead" is a more propulsive affair, a BJM style rocker with a great pentatonic riff, and layers of hazy vocals that are used more for textural effect than as the focal point that you'd perhaps expect. The title track is a little more relaxed tempowise, upping the jangly guitars and allowing the various layers a little more space to breathe. There's some lovely Macca style bass work, and an undercurrent of drones and backwards guitar lurking just on the edge of perception giving it a sense of being a part of something much larger and cosmic.

Great stuff. The greedy bastard within me can't help but think that a whole lot more than the four tracks contained within would be nice, but the more appreciative side of my nature is quick to acknowledge that we're very lucky indeed to have anything of this quality finding its way independently to our ears.

Investigate here, on vinyl and digital: