Album Review "Native North America (Vol. 1) Aboriginal Folk, Rock, and Country 1966-1985"

Reviewed by Nathan Ford

Just when you think that reissue culture has reached saturation point, something like this comes along to prove that there are still fantastic treasures to be unearthed which have been heard by very, very few.

Canadian musicologist Kevin "Sipreano" Howes had been collecting the excruciatingly rare music of North America's Aboriginal people for fifteen years already when he was given the green light to curate this collection by Light in the Attic, who - let's be frank - know a good thing when they see it.

Subtitled "Aboriginal Folk, Rock & Country 1966-1985", this collection collects rare material from a range of North America's best indigenous songwriters, which was largely ignored by the mainstream press at its time of release.

Howes hit the road to track down as many of these performers as he could to try and trace their history for the 120 page hardcover book which houses these two discs, and is certainly as historically significant as the music contained within. Very few of these artists had any form of previously documented history, so Howes spent hours on the phone conducting interviews, and traveled extensively to remote areas, in the hopes of tracing the owners of names that he'd discovered on dusty private pressings and in the contents of public and private libraries.

The results of his labours are impressive indeed. The majority of these artists received very little support at the time their recordings were made, and no media coverage to speak of. Opportunities to record were scarce, but what did find its way onto tape is pretty great. Certainly a lot of it is filtered through a spectrum of Hank Williams, Johnny Cash, Neil Young and the likes, but the songs themselves are often extremely personal and individualistic; Willie Dunn's "I Pity the Country" is anthemic protest which should have reached more ears at the time. Brian Davey's "Dreams of Ways" is devastating and wonderful. Lloyd Cheechoo's two offerings sound curiously like the Felice Brothers. And nestled amongst the predominantly folky and country rock arrangements are garage pop gems like Sugluk's "I Didn't Know", and best of all, The Chieftones, whose "I Shouldn't Have Did What I Done" mixes tribal, Hank Marvin atmosphere, with moody garage-folk and an instant earworm chorus.

Even better news is that the "Volume 1" addendum to the title isn't speculative, with Howes currently at work on a similar collection which will cover the lower 48 States, and further volumes covering North America planned. It'll be hard to imagine them beating this though, a definitive statement, and one with a wide reaching appeal.

Double CD set with hardcover book, available here.
Vinyl version available here.
 
Check out the excellent trailer here:

Album Review: Emily Jones "Autumn Eye"

Reviewed by Grey Malkin (The Hare & The Moon)

Emily Jones should need no introduction to those who take notice of the current crop of wyrd folk artists casting their own distinctive shadows over these Isles. Her collaboration with the splendid Rowan Amber Mill 'The Book of the Lost', a paean and perfect evocation of 1970s folk horror TV and film, was a firm favourite of this listener (and was in my Active Listener Top Ten of 2013). The daughter of folk legend Al Jones, Emily has been casting her spell-like songs around the more haunted corners of the web for a number of years and was most recently seen featuring on the excellent ‘Songs from the Black Meadow’ compilation whilst also performing at that album’s launch. Indeed, her muse fits perfectly with this particular surrounding, a collection filled with both dark, rural folk and hauntological electronica; genres which Jones embraces but does so in her own unique and enchanting manner.

It is from the ‘Songs from the Black Meadow’ album that opener 'Dark Moss and Coldheart' is taken, a gothic folk lament of ghostly harmonies and flanged guitar that is equally chilling and utterly beautiful. There is darkness at heart here, a fairy tale that may not necessarily have a happy ending, yet the song is both truly beguiling and bewitching. It is a hugely impressive opener and, when the guitar and keyboards appear in choral unison, it is a hair on the back of the neck moment. ‘Bed of Mud' is a baroque, piano and harpsichord led folk song in the style of Trees 'The Garden of Jane Delawney', Emily’s' vocals easily fitting into a canon that contains that band’s Celia Humphris, Mellow Candle's Alison O'Donnell and Steeleye's Maddy Prior. This is intricate, delicate and evocative chamber music that brings to mind the more pagan and spooked side of 1970s and 80s TV programming such as ‘Moon Stallion’ or ‘The Owl Service’, as well as the gothically tinged Victoriana of the Czech new wave classics ‘Valerie And Her Week Of Wonders’ or ‘Morgiana’. 'Hermegant and Madaline' is a fine piece of musical witchcraft, an acoustic led, dark acid folk masterpiece. Shades and echoes of 70’s prog folk act Renaissance and perhaps also the subtle orchestral stylings of troubadour Duncan Browne filter through the layered harmonies of the chorus, evoking a timeless quality and atmosphere.

Indeed, there is something sepia tinged about the music contained herein, it is from another time (or perhaps exists outside of time). It has a curiously English melancholy and haunted soul quite out of step with the modern world and pleasingly so; this album is an escape, a portal into a Cornish landscape that contains folklore, doomed and dark romance and a genuine sense of wonder. It is a delight that music of this type and calibre is being released today quite removed and distinct from the mass produced and homogeneous world of Spotify or iTunes. Indeed the very nature of this recording, encased in a lovingly handmade sleeve adorned with a single leaf and containing a hand printed disc enveloped in golden paper, is a defiant and gorgeous dedication to a rustic and truly creative DIY ethic.

‘Light Appearing's picked guitar and yearning keyboard passages are golden, sunset sounds, evoking hazy memories of years long gone by. 'Pieces Of people' is a wistful, harmonium woven ballad, an autumnal melancholic air permeating its gentle waltz. 'Tethered' too has shades of early winter's fading light in its glistening twilit shimmer, chilly piano cascading through the warmth of Jones' vocals. Not unlike a folksier version of some of the more reflective tracks such as ‘Wintertime Love' from The Door's psych masterpiece ‘Waiting for the Sun’, these are lovely, finely crafted symphonies filled with an enticing nostalgia. 'Bright Shadows' completes the album in properly haunting fashion, Emily's echoed vocals gracefully and gradually merging with the spectral string section in one of the album’s many outstandingly beautiful moments.

This is a very special album indeed. Timeless and strange, it stands as a testament to Emily's singular artistic vision and her dark yet bewitching song craft; she is truly one of this island’s hidden folk treasures, waiting to be found. Take my word for it, you need this album but it is limited so do not hesitate; take a look through an Autumn Eye.

CD & Download available via the Bandcamp widget below or here.
 

Album Review: Odessey & Oracle "& The Casiotone Orchestra"

Reviewed by Nathan Ford

There's been a surprising, but noticeable resurgence in baroque pop lately. I find it strangely comforting in this day of i-phones and IDM, that there are an increasing number of young folk reaching for oboes and harpsichords to decorate their tunes. One such group of young folks is the Lyon based trio of Fanny L'Heritier, Alice Baudoin, and Guillaume Medioni, trading under the name of Odessey & Oracle.

You could be forgiven for assuming a case of influence being worn on one's sleeve. The truth of the matter however, is that while the Zombies and other sixties baroque-poppers have provided some noticeable inspiration here, Odessey & Oracle are inspired by the freedom that the late sixties represented, and rather than being restricted by revivalism, have appropriated and updated that sense of daring spirit. This allows for a wider range of influences which include artists as diverse as Bach, the Dirty Projectors , Brian Wilson , White Noise , Moondog and Robert Wyatt. Recorded with the help of a dozen musical accomplices (the titular Casiotone Orchestra), the results are an impressively, and often exhaustingly, varied selection of songs which will likely leave your head reeling. One moment it's a gorgeous piece of baroque pop balladry, then it's chamber strings, and a moment later, electro-pop.

This restless approach does require a few listens to allow the listener to adjust to its scope, but ensures that surprises continue to present themselves at an alarming and seemingly never-ending rate.

Not one for those looking for baroque pop in the strictly traditional, retro sense then, but the adventurous listener with an ear for the ornate will find this contemporary update to be both rewarding and surprising.

Available here.

Hear a five track sampler here:

Album Review: The House of Love "Live at the Lexington 13:11:13"

Reviewed by Nathan Ford

Since reforming in 2003 with three quarters of the 'classic' line up (and crucially, the core creative duo of Guy Chadwick and Terry Bickers), seminal U.K indie band The House of Love have done things at their own pace, without the external (i.e record company) pressures that led to Bickers leaving the band in 1989. Older, and wiser, the two studio albums released since this reformation have been low-key events with a subtlety and maturity that is admittedly less exciting than their first two self titled albums, but extremely rewarding in their own way. Parallels can certainly be drawn with the Go-Betweens reformation and subsequent albums.

Which brings us to "Live at the Lexington", recorded and filmed last year in an intimate London venue as a memento for the band. This sense of things being done because they want to do them (rather than being told to do them by their label) translates nicely into an enjoyably relaxed session, with a focus on material from the Chadwick / Bickers era.

There are plenty of fan favourites; "Shine On", "Christine" and "Destroy the Heart" are all revisited in a refreshing fashion, but more recent material nestles comfortably among the acknowledged peaks without seeming any the poorer for it. Chadwick's voice is still in pretty good shape, with Bickers' backing vocals providing support when necessary. And Bickers' guitar work is sensational throughout; varied, impressive and never flashier than it needs to be, it's never sounded better.

The DVD content (the full show as featured on the CD), is excellent too, with none of the flashy camera cuts often associated with concert films. The cameras seem to be there to document, rather than create the excitement, which with a performance as compelling as this is just fine.

Recommended.

CD and region-free DVD available here.

The Active Listener Sampler 26 Available Now

This month's sampler with another piece of eye-catching artwork by Martin Ross Butler (www.martinrossbutler.com ) is available now. Free / name your price download below....

1. Paperhead - Eye For Eye 02:50
2. The Baudelaires - Where You Go 03:25
3. Jouis - All That Is And Is One 06:00
4. Shinkiro - The Formula For Eternal Life 03:59
5. Moonsicles - Crystal Spy 05:32
6. United Bible Studies - Clay In My Hand 04:01
7. The Carousels - My Beating Heart 04:11
8. Julie's Haircut - Karlsruhe 06:42
9. Concretism - Tesseract 03:57
10. Sam Cohen - Kepler 62 04:27
11. Sounds of Sputnik - Light Scheme (Mind Movies Remix) 05:16
12. Gareth Davies - Thistledown Lodging 04:10
13. The Unseen - Her Father's Voice 07:26
14. Human Greed - World Fair Theme 04:27
15. Ummagma - Live And Let Die 04:59
16. Mark Fry - Aeroplanes 05:03
17. The Familiars - Sons Of Clovis 08:25

Album Reviews: Moonsicles "Creeper"

Reviewed by Nathan Ford

I get all sorts of things turning up in the post for review, but I think I can safely say that this is the first with a cover adorned with a hand painted, amputee unicorn. Needless to say my curiosity was piqued. And this was before I investigated further and discovered that Moonsicles had eschewed the standard-practice album release show in favour of a full play through of the album with accompanying yoga session.

The press release describes a band assembled from a long lineage of adventurous and experimental Austin outfits (the Weird Weeds, Dana Falconberry, Some Say Leland, McMercy Family Band, Pillow Queens, Woven Bones, Ichi Ni San Shi, Suspirians, No Mas Bodas ), brought together by a common, exploratory bond. That being the case, it's impressive just how melodic and accessible this rather lovely album is.

I've rarely heard a band choose a more appropriate moniker than Moonsicles. Shela Scoville's keyboards provide a chilly, kosmische wash which evokes lonesome lunar winds, with the rhythm section of Carolyn Cunningham and Lindsey Verrill settling into a glacially slow, processional pace which suggests an alien sense of gravity. Acting as the perfect foil is Aaron Russell, who's chiming guitar parts play a key role in establishing a sense of warmth for the listener to connect with - a human element in a mysterious, alien environment.

There's a definite post-rock flavor permeating things, but with a refreshing lack of the formulaic, crescendo-building, loud / quiet / loud schtick. Instead, I'm reminded more of the desolate, deliberate desert-scapes of Earth's "The Bees Made Honey In The Lion's Skull", albeit with Scoville's vintage synths making this sound considerably less Earth-bound.

Essential.

Limited edition of 100 CDs in handpainted sleeves available here.

E.P Review: Soft Peaks "Altocumular"

Reviewed by Elizabeth Klisiewicz

This Baltimore power pop group mines a musical vein you've all heard before, with influences like the Flamin’ Groovies and Big Star worn plainly on their sleeves. And there’s nothing wrong with that, because when this sort of melodic, hard-edged music is played and sung as well as it is here, then it’s a welcome addition to the power pop pantheon. The songs have simple structures and “Everybody Wants Her” is an amusing song about other guys wanting the singer’s girl, with funny lyrics I won’t quote here. Suffice it to say that this is an enjoyable and short release with well-crafted songs from a talented group. Rather than play spot the influence, I invite you to check out the band’s music here:

Album Review: The Carousels "Love Changes Like The Seasons"

Reviewed by Nathan Ford

Markus from Sugarbush Records has been busily at it again, sorting the wheat from the chaff so that we don't have to, to find us another jangly treasure.

The Carousels are a Scottish troupe, but don't let that fool you into thinking that "Love Changes Like The Seasons" isn't the most gorgeous example of sunshiny Californian jangle this side of The Junipers. Noticing a theme here? Yep, Markus sure can pick them, and for anyone who has enjoyed previous Sugarbush releases, "Love Changes Like The Seasons" will be an extremely welcome addition to your household.

There seem to be a growing number of U.K based bands who are excelling at channeling the vibrant Cosmic American music of the Byrds and Gene Clark through a prism of U.K jangle ala The La's recently, and the Carousels roughly elbow their way to near the front of the queue with their first vinyl release. Made up of seven new tracks, and a selection of the best cuts from their earlier self released back catalogue, "Love Changes Like The Seasons" fits together in a remarkably snug fashion considering its 'bitsy' genesis.

Bypassing the purposefully retro approach of many of their peers, in favour of the knowingly informed approach of the likes of the See See, the material here is refreshingly timeless, with a sound that would be welcomed arms open in 1968, 1990 or right now without sounding incongruous.

It's at its best when its infused with melancholia; "My Beating Heart", and "Sound of My Own" being particularly fine examples, but works equally as well with a more muscular (albeit still jangly) approach as on "Marianne".

One for Santa's list, although I'd order before then as Sugarbush's limited press LPs have a habit of selling out at an alarming rate.

"Love Changes Like The Seasons" is available directly from the label here.

E.P Review: French Boutik "Mieux Comme Ca"

Reviewed by Dedric Moore (Monta At Odds)

"Mieux Comme Ca" kicks off with a Krautrock groove with bouncing piano and organ that quickly gets accented by soaring female background vocals as the male lead delivers a straight-forward melody in French. Do I know what they are singing about? No. Does it matter? No. It’s catchy and infectious and shame on me for having poor French linguistics, right?

"End of the Line" is a mid-tempo indie-rock song that has hints of British Invasion but keeps its sonic qualities modern. Lots of strumming guitar and a great bass line on the breakdowns of the verses keep the song moving along gracefully. This leads to a very satisfying end to the song which rides the groove that keeps things simmering without wearing it out.

"La Vie En Couleurs" fits perfectly into my guilty pleasure of loving French Beat music. Hints of Stereolab are strongest here. But French Boutik skirt the synths and random chord pattern shifts that appear in a lot of Stereolab’s work. Guitars and vibes are front and center adding to the strong vocal melody that lends a lounge vibe to the mix.

"Tiptoes" is another French Beat groove that proves to be one of French Boutik’s strong points. The piano, organ and guitar lock into the groove with just enough groove to allow the bass and drums to swing heavily. "Tiptoes" builds nicely as the vocals climb above the mix and then ease back to let the horn stabs at the end finish off a great EP.

Pre-order here for a discounted price.

Album Review: Junkboy "Sovereign Sky"

Reviewed by Nathan Ford

Brothers Rich & Mik Hanscomb have been recording together as Junkboy since 1999, with their latest "Sovereign Sky" being a particular treat of lovely, pastoral folkadelica. Stretching back through a lineage that includes the likes of Nick Drake, Tunng, and Candidate, the brothers Hanscomb create a relaxed atmosphere of bucolic charm, with a deep, melancholy undercurrent that gives "Sovereign Sky" added depth.

Here, the brothers are joined by several of their friends on strings, who increase the scope of the Hanscomb's songs exponentially, without losing the sense of intimacy that is key to their songs. I've seen Robert Kirby's arrangements for Nick Drake's songs used as a reference point for the resulting sound, but to my ears these strings have a much more dramatic effect.

And the songs themselves? Well, they're based in the contemporary U.K folk / singer/songwriter tradition, but the Hanscombs are open to stretching in whatever direction the song requires, whether that be the Beta Band meets "American Beauty" era Grateful Dead of "Salt Water", or the sunny, quirky Bossa Nova of "Belo Horizonte". This sense of adventure reminds me a lot of the approach of Field Music, although Junkboy's music has an unhurried grace about it that makes it sound like the perfect accompaniment to a Summer afternoon's nap in a gentle breeze in a field somewhere. Focus on the songs though, and you'll notice all sorts of intricate embellishments, and clever arrangement touches which promise that "Sovereign Sky" will continue to surprise and delight. Quite lovely.

Available December 1 from Enraptured Records.