Cavern of Anti-Matter / Toi Toi Toi - Other Voices #6 & #7

Reviewed by Shaun C. Rogan

Ghost Box continues to plough a singular farrow. Occasionally punctuating long periods of silence with clusters of releases such as this latest clutch of 45s, and followed by the (now available) Hintermass LP (more of that later I'm sure).

The Other Voices Series has successfully taken the approach of its predecessor (The Study Series, pop pickers) and effectively changed nothing except the reference title and art work. These limited 45 releases (which ape in design the Columbia UK labels of the mid-1960's) are of consistently high quality and are building an impressive canon of work that will be appreciated for many years to come. OK, that's the intro, you want to know about these new 45s right? Right.

Cavern of Anti-Matter (Other Voices #6) are a volcanic bunch, led by the prolific Stereolab mainman, Tim Gane. They have been around for a little while, viewed by some as a side project but in truth the quality of the music produced is so significant that it is rather disrespectful to think of it as anything other than a band in its own right.

Their latest eruption of activity is two-fold. The first is this wonderful 45 (followed by this progtastic triple album) and presented here are two beautifully meandering tracks that skate lightly across a range of krauty genres from Michael Rother-esque guitar/synth washes to more sinister electro-territory in seamless shapeshifting. A side 'Pulsing Red River Phase' is a stately travelogue of sounds that hinges beautifully on two counterpoints of alternating circular guitar riff and prime era Krafwerk synth manipulation that eventually merge into a widescreen whole. Its a real treat, offering a fairground ride of hallucinatory otherness, true head music of the highest calibre and highly addictive.

Flip the 45 and we are in more familiar territory for those who know Gane's other work as Stereolab leader with the motorik beat driven guitar chimes of 'Phototones' replete with subtle synth underpinning and a hint of 1980's New Order style bass plucking. It's bright and breezy and has a lightness of touch that offsets the 'A' side very nicely indeed. Good stuff.

Toi Toi Toi (Other Voices #7) is an altogether more mysterious collective in as much as I have no idea who they are, where they come from or indeed what they want. However, their collection of electronic squiggles and distracted atonal vocalising on 'A' side "Odin's Jungle" reminds me somewhat of the work of The Residents, Devo or perhaps Colin Newman from Wire's endlessly intriguing "A to Z" LP of many lifetimes ago. It settles into a pleasing junkyard rhythm with some very nice synth work before disappearing off round the corner presumably in search of other people to bemuse. Flip it over and again you have a similar, more rural tune "Golden Green" replete with birdsong and what may well be some German language announcements before settling into a nice pattern of rippling synth and echoed flute stabs that wouldn't be a million miles away from Ghost Box stalwarts The Belbury Poly or The Advisory Circle in its conception or execution. In fact if you told me it was either operating under a nom de plume I wouldn't be remotely surprised. It is definitely the stronger of the two offerings from Toi Toi Toi and I wanted to play it again straight after its final announcement and bleeps dissolved into the ether. Very nice indeed.

And there you have it, two worthy additions to the Ghost Box canon. If you dig the Ghost Box aesthetic as I do you will find plenty to keep you occupied here. Happy trails.

Available on 45/DL from your usual hauntological stockists, or straight from the source.

New Release: The Coral - Distance Inbetween

"Distance Between" is a triumphant return after a six year hiatus which has seen Liverpudlian neo-psychedelic scousers the Coral investigate all sorts of different musical avenues via various solo projects.

"Distance Inbetween" is The Coral’s first album of new original material since 2010’s "Butterfly House", following the 2014 release of their surprisingly great lost 2005 album, "The Curse of Love".

"Distance Between" is a worthy successor to "The Curse of Love"s more explorative approach, showing a band that have grown a lot in the six years since they were last in the studio together. The album was influenced by the books of Richard Yates, the graphic novels of Alan Moore, classic toys from the 1980s, Krautrock and Muddy Waters' "Electric Mud" album. The band have evolved considerably from the jangly, pastoral pop merchants of their earlier recordings with "Distance Between" exploing the trippy, Floydian psychedelia that drummer Ian Skelly evoked so successfully on his solo album "Cut From a Star", ably supported by bustling Krautrock influenced rhythms - particularly on opening track "Connector". "Before we started making the album we had discussed that we wanted it to be more minimal and rhythmical,” explains James Skelly. “We thought ‘if you've got a rhythm section that’s been playing together for almost twenty years, why not make that the centre of the songs?’"

Paul Molloy (ex-the Zutons, and now the other half of Serpent Power with Ian Skelly), must also take some credit for how great "Distance Inbetween" sounds, making his debut here as a member of the Coral, adding layers of his distinctive, spidery guitar work.

"Distance Between" is available on vinyl, CD and digital formats. Get it here (UK/EU), or here if you're nearer the US.

The Owl Service - His Pride. No Spear. No Friend.

Reviewed by Grey Malkin (The Hare & The Moon)

The Owl Service almost single handedly resurrected the deep vein of the acidic and wyrd within the tradition of UK folk rock with their superb and highly influential début album, 'A Garland of Song'. Here were a band that were once again taking the richly dark ballads of these lands and creating a musical framework that matched the magical, murderous and mud splattered content of the words and stories. A series of essential EPs followed, culminating in the richly detailed and majestic 'A View From The Hill' before the Owls took a sabbatical, emerging in various alternate musical forms (such as Greanvine) and running the splendid Stone Tape label. And then, as though called back when Albion most needed them, they returned with this, their third long player 'His Pride. No Spear. No Friend' (the title a quote from Alan Garner's classic novel 'The Owl Service'). An arguably more stripped back and more traditional recording though potentially all the more affecting and powerful for this, this new album cements The Owl Service as the UK's foremost exponents of folk rock, although, as we shall see, they are this and yet so much more.

A clash of drums and cymbals begins the album with clear intent, introducing a truly beautiful and heartbreaking interpretation of 'The Widow's Lament' (a ballad best perhaps best known for its use across the opening credits of cult favourite 'The Wicker Man'.) A mindblowingly perfect vocal from Jo Lepine is exquisitely framed by dramatic drum beaks and fluid, crystalline guitar that allows the track to reveal its easy glide and splendour. Another Child Ballad, 'The False Knight' also benefits from stalwart drumming and gorgeous vocal harmonies from Diana Collier, its verses cascading and reeling around the chiming guitar notes that add an air of timelessness and grace to this rendition. Next, a shimmering and chilling cover of Midwinter's 'The Skater' (from their legendary 'Waters Of Sweet Sorrow' album) invokes an icy grandeur as the hint of strings and organ build the tension alongside robust bass, percussion and echoed guitar. You can almost feel the winter air upon your skin, such an atmosphere is ably conjured here. A version of folk standard 'Geordie' (previously recorded by acts such Trees), consisting almost solely of an aquatic sounding Hammond backing and Laura Hulse Davis's pure and evocative vocals lifts the hairs on the back of this listener's neck before an explosive and effective version of Cademon's 'Sea Song' (from the Edinburgh based acid folk band's self titled 70s debut which has been described s 'the holy grail' of acid folk) start-stops with delicious drama, molten lead guitar lines, pounding drums and Jo Lepine's wistful vocals creating a hugely thrilling piece of psych folk. A masterful version of Shirley And Dolly Collins' 'Salisbury Plain' is a melancholy gem, a highwayman's lament sparsely yet carefully framed with just the right amount of percussion and drifting, haunting organ.

This spare use of sound is a feature of the album; the songs feel stripped back compared to earlier Owl excursions which commonly displayed rich layers of instrumentation that could (and often did) include sitar, keyboards and a variety of stringed things. Yet this more minimal approach doesn't lessen the power of these interpretations and songs; rather it allows the words and the emotions to breathe and come alive within the windswept beauty of the backdrop provided.

'Living By The Water' is a delicate and heartfelt rendition of the Anne Briggs number, a steady, pulsating guitar and rhythm providing a rich heartbeat to a yearning and affecting vocal performance from Michelle Bappoo. Long time Owl Service collaborator and Mellow Candle vocalist Alison O'Donnell takes centre stage on an epic and wide-screen 'Hugh Of Lincoln', perhaps the most overtly psych song on the album as a reverberated organ drone weaves throughout, gradually layered by skeletal guitar and O’Donnell’s flanged and echoed vocals. The growing tension is expertly handled, another benefit of the 'less is more' approach is that a sudden flurry of tambourine lets the song take a dramatic propulsion forward or a sudden unexpected twist in mood. The album closes with a triumphant yet dread filled 'Willie's Lady', an especially dark Child Ballad concerned with both deception and witchcraft. A spectral and emotive beauty, this song easily stands as one of The Owl Service's best yet.

There is an earthiness to 'His Pride. No Spear. No Friend.' that allows this album to sound as though it could have been recorded at any point in the last forty years. And yet, as with previous recordings, The Owl Service are not just your average folk rock band. The use of drums reflects more of a post rock/ experimental timbre and the guitar tone too evokes the panoramic soundscapes of both Godspeed You Black Emperor and Wolves In The Throne Room, not bands you would normally associate alongside songs previously performed by Shirley Collins or with music in the vein of Fairport Convention or The Albion Band. Yet this is what The Owl Service do that is so special, they add their own slant to the genre and are not afraid to take this musically wherever it needs to go in order to best service the song. Their own influences are equally as allowed to become a part of their musical tapestry and in this sense they are amongst the most forward looking of current psych folk acts; they are truly creating a new folk music as opposed to retreading old standards. You should really be alongside them on this journey; 'His Pride. No Spear. No Friend'. is another triumph, an equal to the essential first two Owl Service albums and yet another new step in their unique and fascinating trajectory. A someone once mentioned in the town of Twin Peaks, The Owls are not what they seem indeed.

Available now as a CD with gatefold sleeve (an amzing bargain at £1!), a limited edition double LP on 180g black vinyl in high gloss sleeve or a download at the band's Bandcamp page.

My Autumn Empire - Dreams of Death and Other Favourites

Reviewed by Nathan Ford

Benjamin Thomas Holton's My Autumn Empire have been around for a wee while now, as I'm sure a number of you will be aware, but I confess dear reader that this is the first time that their paths have crossed with mine. As such I'm not well placed to comment on how this sits within their discography, but judged entirely on its own merits, this is one of the most intriguing releases that I've heard for quite some time.

Holton cites M.R James shadow people as an influence on the songs contained with "Dreams of Death..." (chillingly so on "Black Shape"), as well as the works of Robert Aickman. “The idea for this album first came about sometime during winter as I was reading Robert Aickman shorts late into the night. In ‘The Fetch’ especially, it was the eeriness of the familiar yet slightly obscured surroundings that lull you into a false sense of security - a feeling like all of this could fix itself - before the inevitable disturbing happening knocks you completely off guard” Holton explains in the album's press release.

You're probably expecting this to come across as some sort of spooky Hauntology release from what you've read here so far, and while there is certainly some shared ground texturally and thematically, this is a much more organic, folk-rooted release than anything you're ever likely to see released on the Ghost Box label. Every song on "Dreams of Death.." could be stripped down to acoustic guitar and vocal only and retain its chilling atmosphere, but it's the attention to finer, textural details that really makes this stand out from its competition.

They all generally start from the same point - well crafted, lyrically compelling songs with an earthy acoustic guitar accompaniment, but from there they take some very interesting stylistic detours. Holton has a great ear for vintage synthesizers, and "Dreams of Death..." is absolutely smothered in some of the most gorgeous vintage synth-tones that you'll hear this side of Tangerine Dream. He also has a flair for the dramatic that sees a number of these songs build to unexpectedly furious crescendoes, notably on epic opener "The Following" which comes across as a much more old-world take on the 'computers-in-woodland-clearings' approach that Grandaddy excelled at fifteen odd ears ago. The way that these synths coexist amongst the music's more organic textures is hugely appealling to this listener's ear. Think Floyd's dark 1975-1977 era, with traces of the UK's more progressive alternative rock artists - Radiohead, Doves, Elbow - and you'll have a pretty good idea of what's on offer here.

This is a gorgeous record. Mysterious and laden with memorable imagery, there's a sense of so much more beneath the surface, but at the same time there's an immediacy that ensures a visceral connection with the listener from the very first listen, drawing you further in as its secrets are slowly revealed.

Marvelous.

Full stream and digital download are available through the link below, while the vinyl is available here (UK/EU) and here (US).

Ocean Music - Little Bones Video Premiere

Active Listener favourites Ocean Music (who released one of the best albums of 2015) are back with the follow up to that glorious album, and as a real treat today we're premiering the video for the album's teaser track "Little Bones".

The video is directed by Ariel Abrahams, and perfectly compliments the cathedreal beauty of Richard Aufrichtig's music. Check it out below.

Ocean Music II - Songs from the City is due digitally and on vinyl April 26, and we couldn't be more excited.  Find out more or pre-order here.  

The Diamond Family Archive - November MMXV

Reviewed by Elizabeth Klisiewicz

The Diamond Family Archive may sound like a grand group full of storied musicians, but it’s actually a single fellow named Laurence Collyer. He hails from Brighton in the south of England, and writes, records, and produces his own songs through his own label.

He also likes to release covers, such as the ones found here on "November MMXV". You may recognize the fragile, banjo/organ driven “The Way I Feel” from the lips of legendary British folk rockers Fairport Convention, but it’s actually a Gordon Lightfoot song. Collyer definitely approaches it from a different angle, as evidenced by the dappled picking of a banjo and the warm washes of organ that paint this cover with rainbows. “Eight Miles High” is majestic in it slowness, and its pensive beauty draws you into its mystery. A classic song that is more than eight miles from its Byrdsian source, devoid of any Rickenbacker guitars. “Blues Run the Game” is a Jackson C. Frank song that’s been performed by many of the greats, including Simon and Garfunkel and Nick Drake. This is a song I feel I should recognize, and yet it escapes me. Perhaps it was Sandy Denny’s version, or I heard it in passing when I was drowning in Nick Drake. It’s lovely, what else can I say? Laurence not only has the excellent taste to pick these songs, he also has the skills to back it up with a great voice and accomplished musicianship. “Pussywillows Cattails” is another Gordon Lightfoot song, and one I do not know. It is shimmering and magical and hushed in its delivery. The final cover is from Kris Kristofferson, “Help Me Make It Through the Night”. This is simple and straightforward, with softly played organ and quietly strummed guitar.

"November MMXV" is a wonderful, satisfying EP, showing off the skills of this artist to his great advantage. He has a wonderful affinity for this material and I look forward to hearing more from him.

Check out Laurence's monthly 2015 EP releases here, available as name your price downloads.

Moongazing Hare - Wild Nothing

Reviewed by Grey Malkin (The Hare & The Moon)

Denmark's Moongazing Hare, the ongoing project of David Folkmann Drost, has released several albums of subtle yet striking psych beauty since emerging in 2009, not least last year's 'Changing Tidelines' (which featured musical interpretations of journal and blog entries from an online friend) and 2014's superb 'Under Sundayland Lights'. Folkmann Drost describes his music as 'desperately home made and mostly well-intentioned' which may be true but also belies the panoramic and rich detail that is contained therein. He also states that 'Wild Nothing' 'has been long in the making and is finally being released digitally, so as to get it behind me'. We should be glad that he has done so as this is an album that, upon even first listen, will find a comfortable and permanent home in your heart.

Opener 'Slow Release' begins with the glow of harmonium and the chime of dulcimer as Folkmann Drost's warm and affecting vocals emerge out of the darkness like city lights at night. Reminiscent of the wide-screen and evocative works of United Bible Studies (with whom David has played), this is a truly heartstopping and impressive introduction to the album. 'Wit's End' circles into view on bowed strings and reverberating drones, a sense of unease compounded by bursts of fiery, molten guitar that sound like comets streaking across the sky. This is thrillingly effective and quite unexpected. The album's title track follows, delicately picked acoustic guitar accompanied only by Folkmann Drost's voice and a shimmer of glacial e-bowed guitar; this is a quiet yet powerful piece of affecting psych folk that Bonnie Prince Billy would be proud to have written. Indeed, there is something of a similar feel on 'Wild Nothing' as on Will Oldham's classic 'The Letting Go'; a wintry yet warm air of melancholy beauty. Next, 'Dust On Your Breath' follows in a similar vein, echoed guitar expertly framing a gentle lament that builds with layered vocal harmonies and a heartbreaking sense of beautiful resignation. 'No Wild Things' is a tense and reflective soundtrack to a spoken word piece, a glistening landscape of twinkling lights and stillness.

Following this, 'The Grand Banks Empty' is a reverb drenched confessional; at times on the album it almost feels like Folkmann Drost is in the room with you and this sense of the personal and intimate only benefits the emotional impact of the songs. 'April's Fever' is a tapestry of organ, gently distorted guitar and percussion that creates a warm processionary and stately waltz that seems to herald the coming of spring and the return of the light; hope bleeding out of each step. 'Into Poppy Fields' utilises backwards field recordings and synth notes to develop a wildly and pleasingly disorientating hallucinatory swirl whilst 'Just Can't Handle It' is a masterfully heartrending, banjo led piece of lonely Americana. The folk inflected 'The Salmon Wives' is an album highlight, xylophone picking out a delicate melody as recorder and mandolin merge in a timeless and magical manner. The album ends with 'True Comfort', the swell of harmonium and chatter of voices taking us almost back to where we began, Folkmann Drost's multi layered vocals creating a truly hymnal effect. A sense of catharsis and emotional healing is inherent as a lone Irish whistle adds to the windswept atmosphere; it feels as though this song could be being sung at the edge of the world.

Moongazing Hare are very much a part of the growing new wave of underground psych that is currently bestowing untold musical riches upon us, alongside fellow travellers such as United Bible Studies, David Colohan and Trappist Afterland. This then is an album of rare beauty and fragile grace that comes highly recommended. Wait till dusk, dim the lights and travel into some wild nothing.

Available now at Moongazing Hare's Bandcamp page. Do investigate their superb back catalogue whilst you are there.

Junkboy - Fulfil Premiere

Lovely, pastoral folkadelic duo Junkboy follow up 2014's excellent "Sovereign Sky" LP, with a brand new lathe cut 7" single as part of the 454545 series, a run of seven inch singles cut by 3.45RPM’s head honcho, Phil Macy.

Macy also releases his own music under the guise of Azimuth Coordinator, and Junkboy's Hanscomb brothers took it upon themselves to reimagine two of his choicest cuts for this new 7".

Mik Hanscomb, one half of Junkboy, picks up the story, ‘we listened to Phil’s music and decided to build something around the mood the music evoked within us. Thus, Fulfil and Streets of Doubita paint sonic tone poems around meandering suburban roads during long hot summer days. The single is dedicated to those fellow heads who while away the hours playing Shenmue and listening to Turnstyles and Junkpiles on a loop forever’.

These lads can do no wrong as far as we're concerned and this is more of the good stuff - have a listen below.

You can order the 7" here.

Check out Junkboy on Bandcamp here, where you can hear the flip from this 7", amongst other delights.

Recommended if you like: Candidate, Nick Drake, Tunng.

 

McGough & McGear - S/T

Reviewed by Nathan Ford

Here's an album that couldn't have been conceived at any other time; 1968's self titled McGough & McGear album, recorded at various 1967 sessions.

Following on from their work with George Martin as the Scaffold, Roger McGough and Mike (brother of Paul McCartney) McGear roped in all sorts of superstar guest help for this one: McCartney himself co-producing, and musical appearances from Jimi Hendrix, John Mayall, Graham Nash, Dave Mason and Gary Leeds. That alone would be enough to encourage investigation for a number of you, I'm sure, but it's the strength of the duo's material that really carries this album, with the bright lights and big names never in danger of outshining them.

They make an interesting, contrasting duo. McGough here displays his distinctly English poetic gifts with well a paced delivery that finds middle ground between Roy Harper's spoken monologues and the enjoyable absurdity of the Goons, the ridiculous and the poignant gracefully rubbing shoulders. McGear on the otherhand writes impeccable pop tunes, which coupled with Macca's production skills, make this a perfect period piece with just the right balance of full fledged tunes and accompanied poetry.

"So Much to Love" and "Ex-Art Student" are unmistakeably Beatlesque, with perfect harmonies and notable Hendrix input, while "Please Don't Run Too Fast" is a gentle, melodic lullaby which wouldn't have sounded out of place among the giants on Roy Harper's "Flat, Baroque and Berserk". Surprises lurk around every corner too, whether it be the jazzy maelstrom that "Basement Flats" descends into quite unexpectedly, or "Ex-Art Student"s diversion from Beatlesque popper to psychedelic sitar drone-fest.

It's a bit of a lost classic, embracing the most enjoyeble excesses of the sixties, and there's never been a better way to discover it than Esoteric Records' new reissue (unless you've got some serious coinage for a scarce original vinyl copy). Inside you'll find the full mono and stereo mixes on separate discs, remastered from the original Parlophone Records mastertapes, as well as extensive liner notes and a new interview with McGear.

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

Hexvessel - When We Are Death

Reviewed by Joseph Murphy

Finnish psych rock outfit, Hexvessel, have just released their third full-length, “When We Are Death,” – their first for Century Media Records – after a string of EPs in recent years. Predominantly, Hexvessel has been – and still is – identified as players within the psych folk scene, but, this time around, there’s a definitive and propulsive rock element taking forefront, channeling prog and classic rock, much more so than, for example, 2012’s “No Holier Temple.”

For this outing, the band held a successful Pledge Music campaign, which, in addition to inherent costs, raised awareness and donations for the Finnish Natural Heritage Foundation and the organization’s on-going forest preservation project. That should tell you a bit about the band, whose imagery and aesthetics often recall the ancient, mysterious and esoteric – not to mention black metal; their campaign rewards included amulets and elixirs – but it’s not, perhaps, as curated as other acts who present the same tropes. It’s clear to listeners – at least this one – Hexvessel cherishes atmosphere in their recordings, one that mirrors their surroundings, however you might interpret the word. It makes sense to keep those things safe: history, open spaces, culture, and natural environs; all of those things inform Hexvessel’s sound, which is sprawling, resonating, and – for lack of better words – earthly. Even as they explore new sounds – or bring new sounds to the forefront – at their core, this is still true. See the exceedingly atmospheric “Mirror Boy” or the shadowy and plaintive “Green Gold.”

The change of tone is immediately set with “Transparent Eyeball,” which, on top of its catchy, simple melody, a frenetic organ works alongside heartfelt vocals. “Earth Over Us” works similarly, though taking a searing surf-vibe as its launching point.

The lyrical content of “When We Are Death” holds the sometimes-disparate sounds here together well. Weaving together varying images of “stars spill[ing] on the forest floor” and “teeth of the mountain/body of the river,” singer Mat ‘Kvhost’ McNerney masterfully keeps listeners enthralled once again.

CD, Vinyl and Digital available here (UK/EU), and here (US).