The Ilk "Drei​-​Osterei" E​P

Reviewed by Grey Malkin (The Hare & The Moon)

The mysterious and elusive The Ilk follow their seasonal Halloween and Festive EPs (and full length magnum opus and one of this listener’s favourites of 2014 'The New Dark Age') with the ‘Drei-Osterei’ EP, just in time for Ēostre, Easter or Ostara, or whichever particular Equinox you celebrate. And, like its sister EPs, it is a veritable delight of prog-infused psych and folk, complete with the dark shadowy corners and odd angles so masterfully delivered by previous outings. In short, there is something very special indeed about The Ilk.

Opener 'Spring Surprise' is a dark but sprightly piano and harpsichord led 'John Barry meets Wicker Man' piece of psychedelic prog. Female backing vocals merge with squelching synths, organ and wailing analogue sound effects to create a kind of Swinging London goes rural horror vibe (think of British Hammer style flick ‘Crucible of Terror’). It is mind-blowingly good, no-one else does what the Ilk do and do so well. Next 'Jabberwocky' combines a child's recitation of Lewis Carroll’s famous poem with a folky and Floydian organ, acoustic guitar, Caravan style Canterbury keyboards (there is something of both Pye Hastings' band and Kevin Ayers about The Ilk) and creeping, howling guitars that add a shiver to the rustic warmth of the track. This is wyrd in the proper sense of the word; truly uncanny and unearthly. Final track, 'At The Place Of The Skull' utilises melancholy vintage keyboard loops and drones to create an air of tension and dystopian dread before an acoustic refrain enters to add a bucolic aura, vast swarms of electric guitars then joining the procession. Finally a choir of mellotron and strings reprises the central melody, creating a truly epic conclusion.

There are more ideas on this one EP than most bands manage in their entire careers. If you haven't heard any of the previous EPs or the incredible ‘The New Dark Age’ then I urge you to do so now but first, compliments of the season, welcome the first rites of spring with ‘Drei-Ostrei’.

Available now for a small sum on bandcamp.

Klaus Morlock "The Child Garden"

Reviewed by Grey Malkin (The Hare & The Moon)

The enigmatic and elusive Klaus Morlock returns following 'The Bridmore Lodge Tapes' opus (much loved by this listener and reviewed here) with his second long player 'The Child Garden'. Based on local folklore that Morlock uncovered during his time living on the Wiltshire/ Dorset border, 'The Child Garden' refers to a cult that was active during the mid-seventies in the region, which had very probably been around since the days of the 14th century. Indeed Morlock dedicates this album to 'the strangeness that befell the West Country in the scalding summer of 1976.' Appropriately then, this a recording that affords ritual, unease, a creeping nostalgia and a uniquely British sensibility; that of knowing that there are wyrd things going on in the woodshed but appearances and stiff upper lips must be kept. And it is all the more brilliant and unnerving for this.

Opener 'Quick, Said The Bird' begins with a chorus of birdsong, the haze of a long summer luring us into a very false sense of security. A melancholy piano line plays a reoccurring motif with just a hint of menace before a choir of mellotron and vintage synth effects paint a backdrop of dread and wonder; imagine 'Children Of The Stones' set to music on a grand, orchestral scale. The atmosphere painted so expertly by Morlock certainly makes this listener think of that strange midpoint when you stay up all night between dusk and dawn; a hazy, liminal, unearthly place. Next, 'Alison Is Mine' disturbs further with its ritual drumbeats, descending piano lines and distorted dialogue. Choirs oscillate between the speakers ominously, a satanic stanza. This is what the soundtrack music to rural hell sounds like and it turns out it is very pleasing indeed. 'First Gathering' is a gentler though no less eerie piece, guitar and flute combing to create twisted acid folk of the highest order. Not unlike something you would expect from the film scores of 'Let's Scare Jessica To Death' or 'Tam Lin' this is a work filled with both fear and beauty. The traditional 'Willow Wailey' (best known as the theme from ‘The Innocents') follows, a most spooked and disembodied version of this lament. A tape recorded collection of interviewee’s recollections about the cult opens 'Testimony And Ritual', beginning with reminiscence of how beautiful the members were before descending into the terrifying refrain ' I couldn't move a muscle...I was paralysed with fear'. It is a hair on the back of the neck moment; the source of the fear is cleverly never revealed as analogue strings and synthesised chanting emerges. Affecting, chilling, beautifully and evidently carefully constructed, this is music that will appeal not only to fans of horror scores but also of psych and acid folk, of Paddy Kingsland's soundtracks to 70’s classic TV shows such as 'The Changes' and the BBC Radiophonic Workshop’s music from ‘The Tomorrow People’.

'Jennifer's lonely piano line and flute evokes a sense of dread perhaps best described as ‘rustic noir’; this is a paean to the terror that is felt in the wide open landscapes, the countryside that by day appears tranquil and serene but at night only needs a few lit torches to be seen on the horizon to take on an altogether different vibe. ‘At The Temple' builds on the previous track adding strings and harp before returning to the solitary first piano line to great effect. This music is possessed of a beauty and otherworldliness that is enticing and draws you in no more matter how unsettling the shadows might be. A bit, perhaps, like a cult itself. Likewise 'Second Gathering' is a gorgeous Wicker man style flute and analogue folk reel, smothered in a sense of the heady, hot summers of the past, the sun descending slowly as the robed villagers start to amass in the fields. Delicate string arpeggios fill 'Samantha's Ascension' with a beguiling air of awe and reverence before 'Over The Dead Leaves' lets its John Carpenter-esque piano lines crackle, pause for a disturbing human wail and then come crashing back with drums and buzzing strings; a heart stopping moment. Listen to this album by candlelight, it perfectly suits the ritualistic and ceremonial atmosphere that is so carefully cultivated, the sheer scope of both beauty and terror. 'Jennifer's Ascension' is next, harp and flute once more suggestive of Paul Giovanni's soundtrack of The Wicker Man, evoking the clifftop scenes of Sergeant Howie before he keeps his final, terrible appointment. Indeed, Morlock’s music is highly visual, conjuring up a myriad of bucolic images. 'Sweet Willow' sounds not unlike an ancient, long lost folk ballad (perhaps one that that Cecil Sharp missed); its heathen mood and echoes of 'Willow Wailey' ensure that it is spine chilling in the extreme. Finally, 'Goodnight Little One's mosaic of dispassionate and disturbing voices becomes a momentous and almost orchestral score of analogue keyboards, majestic and deeply moving.

After the music finishes there is a sense of 'what have I just experienced?' This album is immersive; you can lose yourself in there and might just never want to come out again. Once more, a bit like a cult itself. For magic, ceremony, tension and some of the most gorgeous instrumental music you will hear 'The Child Garden’ is a must. Folk horror it most certainly is but it is much more besides. This is a classic vintage synth recording that should have wide appeal and yet also, once again, will be perfect as a cult artefact.

Light the torch, go out amongst the corn. Wear the robes and follow the practices bestowed upon you. But make sure that this is playing as the soundtrack.

Available digitally now on bandcamp. CD available from Reverb Worship.

Joe Byrd & The Field Hippies "The American Metaphysical Circus"

Reviewed by Nathan Ford

When Joseph Byrd was fired from his previous creation, the United States of America, he could well have called it a day, secure in the knowledge that he had produced one of the most important, but underappreciated albums of the sixties. But Byrd didn't feel like he'd fully accomplished what he'd set out to do, so he gathered this astonishing collective together, and produced an album that has always been overshadowed by its more lauded predecessor, but arguably is a far more successful synthesis of his experimental spirit and pop sensibilities.

"The American Metaphysical Circus" is not an easy album. It's also not an album that is easy to assimilate in part. For the full effect, it really needs to be listened through from the first second to the last, and this is perhaps part of the reason for its lesser reputation. Although it does have many highlights which could potentially have been lifted for singles/compilation appearances/radio play etc. they gain so much from being heard in their proper context.

Split into four separate suites, there's a lot going on here. Too much for some people, but Byrd's compositional skills ensure that the disparate instrumentation, and musical styles flow smoothly together.

Opening suite "The Sub-Sylvian Litanies" is the trippy highlight for me, with Victoria Bond's electronically treated voice leading into an explosive revisit of "You Can't Ever Come Down", with searing lead guitar. "Moonsong: Pelog" winds it down nicely, with Susan de Lange's vocals venturing into Grace Slick territory without her sounding out of her depth. This mini suite has enough ideas to sustain a whole album, but there are three others to follow, which veer all over the map, from acid-rock ("Nightmare Train") to cocktail jazz and prominent early use of synthesizer, via the pointed social commentary of "Leisure World" - an extremely interesting, orchestrated piece of what we'd now call Hauntology. Its presence near the end of the album likely left listeners a little baffled at the time, but we live in more open minded, enlightened times now right?

Esoteric's new reissue sounds absolutely fabulous, with fascinating accompanying sleeve notes. One of the reissues of the year so far.

Esoteric's new CD reissue is available here.

Dark Sinfonia "Plague Tales"

Reviewed by Grey Malkin (The Hare & The Moon)

Dark Sinfonia, (Fear Incorporated and Voodoo Bible's William Westwater and Stephen Curran from Sensory Savage) unveil an album both utterly contagious and terrifying in 'Plague Tales'. An ambitious, unique and truly unsettling work, this is essentially a concept album about The Black Death; a sinister song suite that incorporates electronica, experimentalism, dark psych and folk with a healthy (or sickly) dose of sophisticated gothic drama.

Opener 'A Murderous Breath' is a bewitching medieval stomp, Westwater's evocative and occasionally disturbing vocals adding tension and dynamism, his voice recalling that of Peter Hammill, Bauhaus’s Peter Murphy and modern day Scott Walker. Electronics underpin his snarls and choral flourishes, a funereal drumbeat keeping time. Next, 'Black Death' is propelled along on the sound of a solitary snare, organ and percussion gradually joining to add layer upon layer of atmosphere and dread. Fans of the dark dramatics of The Virgin Prunes and The Tiger Lillies will adore this. ‘Prospero’s bleak brass and medieval woodwind is framed by Westwater's versatile and operatic performance; make no mistake this music with heart, albeit a coal black one. 'Krampus', a musical telling of the European myth of Christmas devils who steal children who have been naughty, is truly eerie; a sinister hurdy gurdy refrain and tolling bell adding suitable hallucinatory menace and backing. However, whilst genuinely creepy, there is also a playful element to Dark Sinfonia, a cackling black humour that revels in the absurdity of life and death.

'Stretch Out Thy Hand’ opens with the sound of chimes, bells and Westwater's whispering, deranged vocals to great effect; this is not an album to play alone or in the dark. The bells ring out, overlapping until...silence. 'A Wraith Rose' begins with the children’s nursery rhyme 'Ring A Ring A Roses', said to be inspired by the plague and the idea popular at the time that the very air and the noxious smells it carried was the source of the disease. The song itself is a twisted reflection of said nursery rhyme, an inverse chant that reeks of Middle Ages menace and doom. 'Hell's Executioner' is a bodhran and drum led anthem, curiously uplifting and invigorating despite the blacker than black subject matter. 'Bring Out Your Dead' s disquieting plainsong and undertaker’s bell merge with the repeated cry of the song title; again this has a sinister nursery rhyme quality to it. The traditional 'The Weaver's Bonny' is a revelation, its folky choral intro and celtic pipes a reminder that one half of Dark Sinfonia reside in the Lothians in Scotland which was itself greatly touched by the plague on several occasions. A series of nine questions and riddles reportedly asked by the devil himself, the track is an album highlight and is a hugely accomplished piece of modern dark folk. ‘Within This Silken Fur' follows, gorgeously gothically tinged chamber music providing the perfect accompaniment to Westwater's passionate and emotive performance. Ending in an echoing choir of despair, this is a series of hair on the back of the neck moments. ‘Dark Sinfonia', a whimsical and unsettling organ waltz, offers a musical interlude (and there is something of a musical play, something theatrical about this album) before 'The Red Death' is proclaimed by discordant bells and woodwind. Here, Westwater dispassionately recounts the effects of the pestilence; the effect is mesmerizing. This is not background music, to listen to whilst performing mundane chores; this is a performance that demands your complete and rapt attention and terror. The album closes with an alternate version of 'Stretch Out Thy Hand', a ghostly female soprano drifting under foreboding drones and Westwater's driven and dramatized vocals. Recalling Current 93's 'The Starres Are Marching Home' or some of their more haunted work with Steven Stapleton, this is a fitting end to an epic and hugely successful recording.

Pitch black, carnivalesque and sounding unlike anything else you will ever hear, you are highly advised to don your plague mask, gather your nosegays and enter the underworld of Dark Sinfonia. You will not regret it.

Released on the splendid Reverb Worship label in strictly limited quantities in a beautiful, handmade sleeve featuring torn and pasted front panels. Each CD comes with either a full colour badge or a sticker which features the cover artwork and, during the first month of release, each buyer of the CD directly from the label will be entered into a draw to win one of two specially commissioned t-shirts (large size) featuring the cover artwork. Order here.

Nine Questions with Sky Picnic

Nine Questions is a new regular feature on the Active Listener, where we ask our favourite artists nine simple questions and get all sorts of answers....

Today.... Sky Picnic.

What was the first record you bought?
Chris: The first cassette I bought was Pearl Jam "Vs" in 1993. My first vinyl was the Beatles "Yesterday & Today" (my copy of course was the re-shot cover and not the butcher one). I had just discovered the US versions of their discography, and this one was tops on my wish list, despite being a weird compilation of sorts.
Pete: Buddy Holly From The Master Tapes" double-LP when I was 12. Best purchase I've ever made, (still have it of course)!

What was the last record you bought?
Chris: "Picture You" by the Amazing. These guys have been one of my favorites for a few years now and my anticipation for this album had been through the roof, and it certainly did not disappoint. I can't wait to totally immerse myself in this one.
Leah: Stardeath and White Dwarfs "Wastoid"
Pete: "With The Beatles" (2014 analog remaster) just gets better and better somehow...
Chris: It's getting better all the time.

What's one thing about you that very few people know?
Leah: I have mole on the bottom of my second smallest toe on the left. Most people don't know this because they aren't generally looking at the bottom of my feet.
Pete: Most people know too much already. I find it hard to stop talking about myself. (See? Case in point)....
Chris: Some people have religion; I have Seinfeld. If anyone wants to take me on (or the whole band if we're doing teams) in Seinfeld trivia, prepare to lose!

If you could record with any one artist who would it be and why?
Chris: Robert Fripp. I would want him to produce our album (and maybe guest on Mellotron and a solo). I think he would bring some zen to the process, but also, I trust his insight and experience. (Plus of course, him commenting on each take with his Frippisms would be priceless).
Pete: Hendrix! Why? Well....as a drummer, I'm sure I wouldn't keep up, but it'd be such a thrill going down in flames in that context. Hendrix seemed like such a nice guy he probably wouldn't make me feel too bad about it.

Who should we be listening to right now? 
Pete: Yes, we should be listening to The Who. Or Yes. Both are amazing!
Leah: Stardeath.
Chris: Wand. The Amazing. And all of the latest King Crimson official archive series.

Vinyl, CD or digital? 
Chris: Vinyl. I suppose the simplest reasoning is sound quality, particularly that of a great recording/ master. Tangibility as well; it gives the music a life and a value lost in the digital age.
Leah: Vinyl for the experience, digital for convenience, CD's for when you don't want to carry vinyl home, but you still want to buy an album at a store.
Pete: Vinyl, always!

Tell us about your latest release. 
Pete: I don't know much about it. I seem to have already forgotten most of it.
Chris: "Her Dawn Wardrobe" is really the next logical step in the evolution of the band. We have built upon the psychedelic rock foundation we previously created by exploring and introducing elements from other genres. The songs all breathe a bit, as we worked on creating space in the music. It's a warmer and quite inviting, but also a dark set of songs that I think takes a few listens to really resonate. And we couldn't be prouder of it.

What's next for you, musically? 
Chris: Finishing up the promotion behind the new album and playing tons of shows behind it. I've been writing again lately, and we'll probably start to approach those ideas later this year. While not necessarily easier than before, the songs come about more organically, with way less thinking involved; a good song should really write itself.
Pete: I have no idea. That's I think the joy of it and what keeps it from becoming boring, after all these years. I've never had any idea where I'm going musically but you let the music guide you naturally.

What's for dinner? 
Leah: Awesome take out from il Bagatto (best roasted chicken and bruscetta EVER)
Chris: Homemade Indian curry (vegetarian Jalfrezi) along with lentil soup.
Pete: There's this deli down on Delancey Street that I swear I've been to 5-star restaurants that don't have as fresh, quality food...and all food, all day, all night. You name it, they make it, and it's amazing. $5-$6.

http://www.facebook.com/skypicnic 
http:skypicnicmusic.com

Alice Artaud "Ouroboros"

Reviewed by Nathan Ford

"Ouroboros" is probably one of the weirdest psych-folk albums ever. It tells the tale in French of Ouroboros, a giant snake who sends dreams to children and of a Masked Queen who wants to kill him. I know this because it is exactly what the press release says. I'm not usually that reliant on the press release for info (or indeed direct quotes), but "Ouroboros" is a French language album, and I sadly am not a French speaker. So bearing in mind that I'm unlikely to have anything insightful to offer in regards to the story, let's continue.

Why would I recommend an album that tells a story I'm unable to understand, you may ask? Because it's a hauntingly lovely thing, and if I can get this much enjoyment out of it without understanding a word, those that speak the language are going to be in absolute Heaven.

"Ouroboros" has a short running time - around 28 minutes - and probably a quarter of that time is made up of spoken word passages. These spoken word passages are supported by atmospheric incidental music that ensures the spell isn't broken for those of us for whom the words are but a pleasing sound. But elsewhere is where the true magic lies. The voice and guitar of Alice Artaud (who wrote all of these pieces) is at the forefront, and she does a fabulous job indeed, but equal billing should be given to Will Z (who himself has a fabulous album out soon). Taking on the arrangement and production duties, and playing an impressive array of instruments in support of Artaud's vision, Will Z has created a bewitchingly mysterious setting with a deep psychedelic undercurrent that makes it sound like a more accentuated version of a seventies acid-folk rarity. Multitracking Artaud's voice and casting it amid an array of sitars, mellotrons and other lysergic instruments, these two have created something of a timeless classic, and one that belongs in your collection right next to C.O.B, Stone Angel, Mellow Candle, and the likes. And chances are, if those albums weren't quite as 'acid' as you'd hoped for when you finally got a chance to hear them, this will  provide the trippy edge that you were looking for.

One of the best I've heard this year.

CD and digital available here:

The Silence "S/T"

Reviewed by Nathan Ford

Following the release of 2007's "In Stormy Nights", long running Japanese psychedelic legends Ghost went on hiatus. Frontman Masaki Batoh admits that he considered giving up music for good, but a chance meeting with former Ghost colleague Futoshi Okano in Spain in 2013 ignited a spark that led to the official disbandment of Ghost (thirty years after forming), and the announcement of their new band, The Silence.

Joined by Jan Stigter on bass and Ryuichiro Yoshida on flute and saxophone, The Silence's first, self titled album was recorded entirely on analogue, which gives these recordings an immediacy that makes them sound like they were recorded live in the studio.

I'll admit that I'm not overly familiar with the majority of  Ghost's large body of work, so I can't comment on whether the Silence is a departure or not from Batoh's previous work, but I can confirm that this is top notch stuff. Using a mixture of acoustic and electric instruments and tapping into an exploratory mindset, these four seem to relish the opportunity to play off of each other. There's an early progressive feel to much of this, with the tight riffery of "Pesach" bringing King Crimson to mind - as does Yoshida's saxophone work elsewhere. "Lemon Iro No Cannabis" is a grand prog thing too, performed at a stately pace. These more rock-oriented numbers offer an immediate payoff, but there's another side to this record that is even better. "Triptycon" strips back the electric guitars for an appealingly rambling folk workout, with a distinctly medieval twist that wouldn't be out of place on a vintage John Renbourn album. Its descent into lysergic atmospherics and eventual rebirth, heralded by the memorable flute motif is quite remarkable. As is the band's deconstruction of the ancient folk standard "Black Is The Colour of My True Love's Hair", which features a remarkable vocal performance from Batoh, and a surprisingly bludegeoning breakdown after several of the verses.

I'd wager that there are quite a few people out there waiting with bated breath for this, and they're not going to be disappointed with what they hear.

Available here on vinyl, and CD.

Nine Questions with Junkboy

Nine Questions is a new regular feature on the Active Listener, where we ask our favourite artists nine simple questions and get all sorts of answers....

Today.... Mik Hanscomb of Junkboy.

What was the first record you bought? 
The first LP I bought was Mr. Tambourine Man by The Byrds from a second hand record shop in Southend. Still dig that fish-eye cover photo.

What was the last record you bought? 
I bought a compilation album New Orleans Soul - The Original Sound Of New Orleans Soul 1960 – 1976, which came out recently on Soul Jazz Records. It’s another sublime Soul Jazz compilation; some of the Aaron Neville tracks on there are amazing!

What's one thing about you that very few people know? 
Not long after I first moved to Hove I got a summer job in a local supermarket; on two separate occasions I served Nick Cave a Sunday paper and fags and we made polite chat about the weather, it was quite surreal.

If you could record with any one artist who would it be and why? 
Growing up in the suburbs in Southend I used to listen to a lot of albums on Thrill Jockey label by artists like Sea and Cake, Jeff Parker, Tortoise et al, the albums were credited ‘recorded at Soma Electronic Studios by John McEntire’. It’d be amazing to do a Junkboy album with John at the controls in Soma.

Who should we be listening to right now? 
There’s a lot of great stuff out there… I’d recommend singer/songwriter Jessica Pratt’s new album On Your Own Love Again. I’ve read a couple of mixed reviews recently but I think it’s a great album- beautiful melodies, vocal harmonies and chord progressions throughout.

Vinyl, CD or digital? 
Vinyl has the best sound for me, especially if you listen on a decent hi fi set up, not that I’m an audiophile! As someone who grew up pre-internet I guess I still prefer the physical format; I like the tangibility of artwork to look at and notes to read etc. But I love being able to take my music collection out with me. I hope there is still a market that caters for both digital and physical formats in the future.

Tell us about your latest release. 
My brother and I made an album called Sovereign Sky, which came out in December 2014 on Enraptured Records. It’s our most song-based album yet; I would describe the sound as pastoral, psychedelic folk with elements of baroque pop. Fans of Mark Eric, The Left Banke, Eric Matthews, Bert Jansch and music from the Laurel Canyon should hopefully dig it!

What's next for you, musically? 
My bro and I are promoting the new Junkboy album this year and playing some gigs, we’ll hopefully get round to writing some new tunes later in the year. I’m drumming for a friend’s band; a glam rock outfit called Prissy Lips. A few friends and I also put on a psychedelic club night called Eight Miles High. It’s on bi-monthly at the Komedia in Brighton and we spin psych tunes old and new plus there are awesome oil wheel projections courtesy of Innerstirngs Psychedelic Lightshow - outtasight!

What's for dinner? 
Mangetout

www.facebook.com/junkboytheband
www.facebook.com/eightmileshighclub
www.facebook.com/Prissylips
www.facebook.com/pages/innerstrings-psychedelic-lightshow/119380684745264

Black Fruit / Factotum "Split 2"

Reviewed by Maggie Danna

Black Fruit/Factotum "Split 2" is an energetic, diverse garage record, second in Stolen Body Records’ split LP series. Black Fruit opens up the album, delivering a dark mutation of high-energy surf garage punk. They are a great example of an awesome surf-inspired band coming out of Grand Rapids, Michigan, as are Heaters whose album "Solstice" I reviewed a couple weeks ago. Black Fruit’s spooky, vibrato–tinged baritone vocals really remind me of The Wytches, and are simultaneously wistful and vivacious. A touch of blues is felt in the band’s strong walking bass lines and infectious rhythms. “Letter” is a particularly well-crafted track about lost love with a rough yet catchy guitar jangle, a mournfully sung, melancholic melody, and pounding percussion. The song even has a bit of a 1950s pop feel to it, though it is certainly much darker.

Bristol, UK garage punk Factotum’s contribution is heavy, often verging on metal while covering an incredible range of genres and styles over the course of their five songs. “All My Friends Like Garage” combines intense vocals over a space rock wall of sound interjected with guitar feedback. The track closes with an upbeat, music box-esque melody. There’s a bit of jazz in “The Place I Go,” which alternates between smooth guitar, intense percussion, and metal vocals, with electronic instrumental chaos at the end. “The Place I Go” has a touch of funk, fluctuating between frantic guitar shredding and experimental instrumentals and percussion. The finale, “Loose Cannon Cops With Big Fat Heroin Hands,” is calm and delicate with eerie yet comfortingly dreamy reverbing kazoo swoops, soft female vocals, and guitar plucks. “Loose Cannon Cops With Big Fat Heroin Hands” is extremely reminiscent of Gong, especially their song “Glad to Sad to Say” from "Magick Brother". Though way more laid-back than the rest of the album and highly ethereal, it perfectly fits the mood as it brings the album to a close.

If you have even the slightest liking for garage rock, I highly recommend checking out Black Fruit and Factotum; both bands are impressively innovative and deeply satisfying.

Vinyl available here. Digital available below:

Craig and Yikii "Near-Death Flower"

Reviewed by Grey Malkin (The Hare & The Moon)

"Near-Death Flower", a collaboration between Sheffield’s Craig Manga (of Manga Bros) and China's Yikii Tong, has been described as 'dream pop with night terrors', an entirely fitting accolade for this most ethereal, yet barbed EP. A hazy, shimmering mix of Cocteau Twins reverb and Cranes style vocals, this is an otherworldly, unsettling and beautiful work that drifts and floats on entirely its own plain.

Opening track 'Whale in the Belly' begins with Yikii's vocalisations, her crystalline voice stretching over clouds of somnambulistic electronics and gentle percussion. It all feels delightfully and slightly out of kilter with reality, an Alice in Wonderland air of lysergic dreaminess. For fans of 4AD acts such as His Name Is Alive, This Mortal Coil and Modern English this is essential listening. 'Ghosten' starts with echoed glockenspiel and some gorgeous backwards melodies that seem to orbit around each other, creating a late night or early morning haze that both disorientates and enraptures. Yikii's layered vocals intertwine; creating a ghost choir of disquiet and beauty that hovers over the electronic buzzes and whirrs before fading into the ether. 'Last Ghost Story', with its ringing harmonics and treated guitar is a harsher environment but still icily reflective and frozen in sheer loveliness, whilst Yikii intones over the growing chimes and tension. You need to hear this; it is a masterclass of carefully and deliberately controlled atmospherics and brooding, layered ethereal pop. The guitar becomes ever more apocalyptic, the bells more frantic until all disappears into the black of night. Closer 'Tactile' is quiet, insistent, yet filled with warped electronica. Yikii's haunted vocals and analogue wails and hums create a cathedral of sound that suggests a very modern form and interpretation of psychedelia. Dreamlike, unique, utterly creative and in its own universe, Near-Death Flower is a rabbit hole all of its own.

Available now on bandcamp this is a stunning, unearthly and accomplished EP that Ivo -Watts would have snapped up to be on his label back in the day. Do not let this go by; there is perfect psychedelic pop here, left of centre perhaps but bewitching and entrancing almost definitely.