Nine Questions with the Heartwood Institute

What was the first record you bought?
I had a walkman a long time before I had an actual record player, so I bought all kinds of embarrassing stuff on tape, but I’m pretty sure my first actual record was Black Sabbath’s Paranoid album.

What was the last record you bought?
The new Pye Corner Audio 10” that just came out on Death Waltz Records.

What's one thing about you that very few people know?
Unless they are also industry friends…. I actually write library music for a living and one of my claims to fame….. there’s a strip club scene in the movie Bad Santa, well that’s one of my library tracks in the background.

If you could record with any one artist who would it be and why?
I think it’s got to be Delia Derbyshire, I’d just love to know how she achieved what she did with practically nothing more than manipulating tape.

Who should we be listening to right now?
At the moment I’m very much liking The Hare And The Moon’s Wood Witch album, and the new CD from The Eccentronic Research Council. At the rockier end of things, I’m still blown away by Six Organs Of Admittance’s Hexadic album and the new Sleater Kinney. So I guess you ought to check those out. But, by and large, everyone should listen to Magma. Regularly.

Vinyl, CD, digital or cassette?
For the sound vinyl, then probably CD, but digital for convenience and portability. That said, I’m proud to still own a cassette deck and a lot of tapes. In fact I still have a Minidisc player and a DAT machine. I guess I collect defunct technology.

Tell us about your latest release.
The latest Heartwood Institute release is Astercote (name your price/free download below). It’s an imagined soundtrack to the book of the same name by Penelope Lively. I’ve been re-visiting a lot of the books of I remember reading and enjoying as a teenager. As I was re-reading it, it just seemed like there was such strong imagery there, that it immediately sparked the idea of making a soundtrack to go with it. I wanted to make something that was influenced by some of my favourite 70’s soundtracks : The Wickerman, Get Carter, that kind of thing. But also the more out-there TV soundtracks I remember too, from things like The Changes, Children Of The Stones and the original Tomorrow People. I guess I kind of identify those sounds with the time I originally would have been reading the book, during the late seventies / early eighties. So I set out to create something that hopefully sounded like it could have come not just from the period, but from 1970, the year the book was originally published. Hopefully you’ll agree.

What's next for you, musically?
I have a number of plans afoot for more Heartwood releases. There will probably be more “imagined soundtracks”, there’s certainly no shortage of material to inspire those. But the other big inspiration, which features on the first two ep’s, are the places, the history and the folklore of the English Lakes. So I’m pondering the best way to focus that and shape it into a more specific release of some kind. My biggest issue is trying to find the time to actually do it, as I have a pretty punishing work schedule right now.

What's for dinner?
I’m hoping for hot dogs.

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Twice Dead "I'll Love You Till You're Dead Again"

Reviewed by Grey Malkin (The Hare & The Moon)

The Isle Of Man's Twice Dead have recently unloaded their latest opus onto the world wide web, press play and it goes off like an exhilarating psych noise electronic bomb. Featuring lead vocalist Mike Seed (who also records as Sand Fingers) on saxophone and words, Richard Quirk on modular synths and guitars, Martyn Thomas on drums and Neil Whitehead on bass, this is a maelstrom of Hawkwind meets Sonic Youth intent and carefully controlled melodic cacophony.

Opener 'Slip Your Moorings' begins with a howl of electrics and distorted bass, Seed's flanged and reverberated vocals drifting eerily over the quickening pace and building rhythm of the song. A mixture of The Fall's steady beat, Earth's monolithic riffage and Silver Apple's wired electronic soundscapes this is a truly massive and immersive experience. 'Petronius' follows immediately on, spoken word vocals emerging from the rippling and divebombing guitar bursts recalling the Wire of '154' (always a good thing in this listener's book). An epic nine minutes long this is a genuinely thrilling, hairs on the back of your neck cosmic electronic jam. Tightly controlled but endlessly inventive the sound becomes almost trance like as wave upon wave of guitar and vintage synth roar forwards. 'The Shadow Narrative' emerges from the previous track, jagged synth pulsating and delivering a riff that 'Hall Of The Mountain Grill' era Hawkwind would be proud of. Free form and exploratory (although always within the tightly held beat) the song propels ever onwards until it fades into a humming drone and Seed's distinctive, dispassionate spoken word vocals, a chilling end to the lysergic electronic jam that came before. 'The Star Of India' has some of the most apocalyptic guitar playing you will ever hear, the distorted Big Black style bass growling beneath modular whooshes and wails and Seed's voice. Experimental, distinctly English and electrifying; Twice Dead are a hidden treasure indeed.

'Provincial Station (Goodbye Madame B)' slows the pace down with a creeping bassline and saxophone and keyboard feedback; a haunted prowl through some darkened recess of the mind. The synth modules bubble into life as the guitar lays a backdrop of dread and tension for Seed's narration. Think Throbbing Gristle, the afore mentioned Wire and Hawkwind and perhaps also Om or Sleep; but also be aware that Twice Dead are their own unique proposition who ultimately sound quite like nothing else on this earth. A case in point is 'Tide Tables'; with its sparkling synth and Seed's urgent delivery it is utterly entrancing and genuinely beautiful, the electronics creating and ebb and flow not unlike a vast electric ocean. It is arguably the stand out track on an already deeply impressive album. Closer 'Arthur's Wain' is another eccentric English tale told over a strolling bassline, swathes of distortion and a building urgent beat. If the Velvet Underground had come from the Isle Of Man then 'White Light White Heat' might have sounded like this.

It is truly pleasing that, in the age of safe and predictable major label releases and empty and depressing TV talent shows that out of the darkness comes music like that of Twice Dead. Pushing boundaries, following their own unique path and making music that burns with life, energy and creativity they demand to be heard.

Available as a free / name your own price download here:

Les Big Byrd "Stockholm Death Star"

Reviewed by Joseph Murphy

Stockholm’s Les Big Byrd has appeared more and more in my internet reading destinations, and, if you’re reading this, they have likely been appearing more frequently in yours too. It seems they’ve got a new release of some sort every few months – all the better for fans of their fast paced, mad synth space rock. This time it’s “Stockholm Death Star” – a four song EP – put forth by Brian Jonestown Massacre’s Anton Newcombe’s A Recordings (editor's note - as if to demonstrate just how prolific they are, there's since been a further LBB release, a 12" picture disc). If you’re familiar with “They Worshiped Cats,” the band’s 2014 debut full length, this one follows partially in its footsteps and partially veers off, allowing for paced structuring and a few more traditional hooks than the former.

Opener, “Stockholm Death Star,” is a tight, instrumental, motorik endeavor. It’s full of weird flourishes that seep into the pounding riff that underpins it all. It’s the sound we’ve come to expect from Les Big Byrd but somehow bigger than their last effort.

Up next, “I Woke Up in a Dream,” while still utilizing the steady beats and bass, channels a more laid back feel, something much more like dream pop than the preceding track. The slow delivery of vocals elevates the spacey interludes toward something very much like a pop song; it’s catchy, too, in different way than anything we’ve heard from them before. Only “Vi Borde Prata Men Det Är För Sent” from their debut hinted at this type of sound.

“Vapour R.I.P.” slows the whole thing down and polishes the record nicely. While still showcasing those reverb drenched guitars, washes of synth and electronic flourishes, the closing track is something like a ballad, complete with the pre-chorus builds. “They Worshiped Cats” had nothing quite like this.

If it’s to be believed, the band met Newcombe in a record shop and got talking, which eventually led them to Newcombe’s studios. One can only hope that was the case. Either way, if “They Worshiped Cats” didn’t convince you, “Stockholm Death Star” will. We’re dealing with a prodigious, versatile crew.

Highly recommended.

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

Os Noctàmbulos "Outsider" b/w "Watching You"

Reviewed by Nathan Ford

I've been a big fan of Nick Wheeldon ever since I was wowed by the masterful 39th & the Nortons album "On Trial" back in 2012 (available here for free!) - a perfect hybrid of mid sixties Dylan, the Seeds, and Gram Parsons.

Things have certainly changed musically for Nick since then; relocating from the U.K to Paris, Os Noctàmbulos was born and the Seeds won out over his other influences. Os Noctàmbulos' debut full length "Corsica Garden", was a moody, jangly piece of retro garage-folk/punk which successfully drew on the likes of the Seeds and the Dovers, and at the time seemed to represent the band firing on all cylinders. Shows what I know, as this new 7" absolutely blows "Corsica Garden" out of the water in terms of concentrated intensity. Both sides are primitive, snotty garage-punk numbers with huge Farfisa organs, out of control surf guitar shredding, and raw, on-the-verge vocal performances from Wheeldon.

"Outsider" is the more in-your-face of the two, quickly evolving from a hypnotic Farfisa riff into a raucous, hyperactive stormer, with an anthemic chorus and 110% attitude from all involved. "Watching You" starts out at the same frenetic pace, but adopts a spooky, minor-key approach, affecting an air of mystery which makes this the more long term favourite of the two.

A perfect wee 7". Maintaining this level of intensity over anything longer would be exhausting for listener and performers alike, but as it stands here - perfect.

And how about that great wraparound sleeve from early Active Listener Sampler cover artist Martin Ross Butler? Fab.

You can order the 7" here, and stream both sides below:

"Box Records Vol. 1"

Reviewed by Joseph Murphy

Collecting unreleased, out of print, forthcoming or just plain hard to find tracks – many from limited edition cassettes, bonus discs and sold out 7” presses – from Box Records’ many great bands, “Volume I” is for those who slept through the original pressings; this is a second chance for a few deep cuts and rarities from the likes of Haikai No Ku, Joseph Curwen (whose track is exclusively here), Luminous Bodies, Blown Out (whom I've previously reviewed here and here) , Bong and Khünnt. For a full track list, check out the label’s website or the Souncloud link below; there are a lot of heavy hitters here.

Doom laden, heavy psych reigns, but Box Records’ minds certainly don’t limit themselves to the genre. In press material, it’s made clear; they’re much more interested in music that is “emotionally charged, honest and true,” and so this compilation acts as evidence of that masthead, pulling – very carefully – from folk, electronica, punk, and elsewhere. So no matter if you come for the raw no wave punk of Queer’d Science, the grunge noise of Foot Hair, the experimentation of Gnod and Beauty Pageant, the earnest lo-fi folk of Richard Dawson, or Waskerley Way’s ambient electronica, Box Records has collected some of the UK’s most interesting and intriguing underground acts.

For a label that specializes in limited runs, this digital compilation is a natural step; it keeps these songs in circulation. Besides that, it’s well curated too and a fine beacon for new listeners. This one is out now.

This is the perfect gateway release from an inimitable tour de force – and most importantly, discerning listeners too.

http://box-records.com/

Laike "Fången i Det Senaste"

Reviewed by Nathan Ford

You'd think from the psychedelic music that's been emanating from Sweden over the last half decade or so, that entering the country would involve not only a geographical shift, but a temporal one. With the vintage atmosphere so masterfully conjured by the likes of Dungen, Me & My Kites, Slowgold and Witchcraft on their releases, it's clear that there's an abiding love for more simple times in the country's musical counter-culture which Sweden's artists have a unique knack for capturing on tape.

Which makes it all the more perplexing that the title of the latest album from Christofer Ståhle, or Laike as he calls himself as an artist, translates to "Trapped in the Latest". Ståhle, if you hadn't guessed, is another of these early seventies obssessives, and this, his second album, couldn't be further away from being trapped in the latest if it tried. In fact, upon listening, I'm not convinced that Ståhle has even heard any music created since the mid seventies, which far from being a criticism, is one of the album's key strengths.

With the aid of various members of Dungen, Me & My Kites, and Lisa O Piu, Ståhle has created a lovely suite of relaxed, communal psychedelia, with distinctive elements of Canterbury prog, folk-rock, and progressive jazz finding their way intuitively into the mix, in a true melting pot approach which sees musical forms shifting and changing nebulously so that things never seem too clever, although more often than not, they are very clever indeed. Apart from the relaxed and informal interplay between the musicians, this can largely be attributed to the quality of the songs. No matter how complicated things get, they're always anchored by effortlessly great melodies, which sink their hooks in, despite the language barrier.

Unusually great, this is an album which succeeds on more than one level, and sounds exactly like the sleeve would have you believe it does.

Available as a vinyl LP with lovely die-cut cover, or digital download - both through the link below, where you can also stream four tracks (which should be enough to get you reaching for your credit card).

New Candys "New Candys as Medicine"

Reviewed by Elizabeth Klisiewicz

Venetian psych band New Candys is hand in glove with Minnesota label, Picture in My Ear. The band describes their sound as “33.3% Rock + 33.3% Roll + 33.4% Psychedelia”. There's nothing overly retro about their sound. This is psychedelia for the modern age, reminding me a bit of The Laurels with tripped out garage rock that dips its toes into the same pool as The Raveonettes and Black Rebel Motorcycle Club. I only drop names to provide a frame of reference for listeners, not to sign and seal this band’s music into a claustrophobic musical envelope. Produced by original Loop drummer/producer John Wills, the album was released this past March. As if that’s not enough psych cred for you, two band members also tour with Mexican band Lorelle Meets the Obsolete.

“Thrill or Trip” charges straight out of the gates, tickling all the right sonic sweet spots with muscular swamp guitar and heavy reverb. It’s a fitting start to an album that never lags in energy, from the groovy vibe on the BJM influenced lovefest of “Song for the Mutant” to the fuzzy “Dark Love”. This is a band confident in its innate songwriting abilities, weaving musical spells with huge hooks and lots of bang for your buck. “Aphrodite in Leather” trots down a darker path and you gotta dig that sinister surf guitar and the bleakest of vocals (and man, that fadeout, killer!). “Overall” is quite excellent as well, with blistering, spazzed out psychobilly guitar, cool stoner bass, and ringing bells. “Bones on Fire” is an acoustic piece and in stark contrast to the energy laden numbers that precede it, exploring the quieter side of this genre with predictably pretty results. “Mess” goes right back to business, with more of that uber cool surf guitar that fits this genre so perfectly. “Jolly Pan” is head bobbing and insinuates itself instantly in your head, while the closing tune “Endless Deadline” steals a riff from some old song that escapes me, but you’ll know what I mean when this fun song hits you with its best shot.

From start to finish, this is a solid piece of modern psych that fans of this genre will greatly enjoy!

CD, vinyl and digital all available here:

"The Hatcliffe House Tapes"

Reviewed by Nathan Ford

"The Hatcliffe House Tapes" series is the sort of treasure trove which the intrepid Bandcamp hunter may be lucky enough to stumble upon on rare occasions, should their visits to that site be both habitual, and unhealthily frequent. I was initially drawn to this project by the evocative hauntological quality of that title. As someone raised on a diet of M.R James short stories and haunted house films, how could I resist?

Comprised of cassette recordings made between 2001 and 2012 at the titular house by bedroom musican / artist / synth creator / video maker / dream weaver / sonic explorer / analog adventurer John Lee Richardson, this seemingly endless series (there's been five so far since February) is a veritable goldmine for the sonically adventurous.

In the interests of not getting overwhelmed, I've limited the scope of this review to the first volume in the series, but can vouch for the consistency of quality, and diversity of atmospheres to be found in the following volumes as well.

"Vol​.​1 - Early Experiments and Conclusions" is the least stylistically bound entry in the series (at this point), and for this reason one of the more diverse - an ideal starting point. The lengthy timeframe over which these tracks were recorded no doubt accounts for some of this diversity, but there's no denying that Richardson has a musically enquiring mind also. Contained within you'll find logo tones which draw from the same well of inspiration as Jon Brook's Advisory Circle project, kosmische,  psychedelia, krautrock and all sorts of other Radiophonic goodies. Richardson doesn't limit himself to one set of ideas per track either. It's with good reason that he's the only artist on Bandcamp using the tag "radiophonic krautrock". And confound him if he doesn't make the whole 'reckless alchemist of sound' approach seem like an easy thing to pull off too.

In terms of highlights, "Further Away" has a pretty irresistible, loping gait, with a rhythm track which is equal parts trip-hop and krauty psychedelia, with layers of tormented vintage synthesizers making all sorts of a lovely racket overtop, while "Poltergeist" piles on the tension with droning strings, as well as showcasing Richardson's unusual habit of mixing acoustic guitars with vintage synths.

And there's plenty more where that came from - on this volume and others. Save these for a wet afternoon and watch the hours disappear.

"The Hatcliffe House Tapes Vol​.​1 - Early Experiments and Conclusions" is available through the streaming link below, with further volumes available here.

Hypnodrone Ensemble "The Shape of Space"

Reviewed by Joseph Murphy

Hypnodrone Ensemble is a relatively new project from Nadja, Caudal and B / B / S guitarist Aidan Baker and thisquietarmy’s Eric Quach. Formed in 2014 for a performance in Berlin (a recording of which was released by Belgian label Consouling Sounds), Hypnodrone Ensemble garnered some interest, playing Incubate Festival in Tilburg, Netherlands. This year sees their first studio recording, “The Shape of Space,” from Little Crackd Rabbit (CD) and Calostro Recordings (LP) and recorded at Golden Retriever Studios in Berlin. If you’re familiar with either guitarist’s work, you know they’re more than capable and versatile players; they blend wall of sound atmosphere with motorik beats, expressive free form improvisations with heavy space rock aesthetics.

“The Shape of Space” is, to be clear, two long instrumental tracks, with distinct poles each: “Elliptical / Hyperbolic” and “Euclidian / Dodecahedral.” Both clock in around the twenty two minute mark. While Baker, Quach and bassist Gareth Sweeney’s interplay is hypnotic and unforgivingly heavy at times, this is not simply a showcase for their chops (though they are readily apparent); it is, instead, an impressive ambient rock composition that swings through the gauntlet, pulling listeners in and out of the riffs.

Having three of anything could prove a burden, but, from its inception, Hypnodrone Ensemble has embraced three drummers. (You have to appreciate the line-up, which lists “drums” after three of its members’ names, refusing to euphemistically say “percussion” or something else.) And Dunnett, Mortier and Salazar are good at what they do. Completely in control, the three work together – most of the time in powerful sync – following the ebb of the guitars, holding down expressive motorik beats or falling around a loose passage. At their best, however, the drummers tumble through a pounding free form build, occasionally letting one fill in the breaks while another holds steady.

This record is for fans of guitarists whose crowd of pedals sit at their feet, punched and tweaked endlessly, rattled until otherworldly and dense atmosphere leaks from somewhere else. The result is a master work of precision and improvisation that’s mesmerizing while remaining surprising in its turn.

Highly recommended.

CD available from Little Crackd Rabbit. LP, and digital available here:

The Heartwood Institute "Astercote"

Reviewed by Nathan Ford

Library musician / composer Jonathan Sharp has spent the first part of this year channeling his energies into a new hauntology project (Hauntronica he calls it), the Heartwood Institute. Following on from two E.Ps which explore the folklore of the English lakes, comes his most ambitious Heartwood Institute release to date; an imagined soundtrack to Penelope Lively's 1970 novel "Astercote". The novel focuses on the titular village, which was wiped out by the Black Death in the 14th century, and is now overgrown by forest, but still exerting an eerie influence over the local Cotswold folk. It's very much in the vein of Nigel Kneale, "the Owl Service", and young adult TV series of the time - "Children of the Stones", "The Changes" etc. - and Sharp taps into the same rich vein of spooky incidental music that accompanied those and many other shows, to create a score that sounds very much like it could have been recorded around the same era. That description alone has probably captured the attention of Sharp's target audience.

Fans of the likes of "The GoatMan" and Klaus Morlock will feel right at home here, although Sharp's music is perhaps a little more varied than you would often find on this sort of project. There are certainly some spooky moments, but there's also a subtle sense of unraveling mystery, more than horror, with several tracks - "The Chalice Returned" in particular - having a similar lyrical quality to Sigur Ros's "Agaetis Byrjun" and Mogwai's "Les Revenants". Elsewhere, "The Chase" does a thrilling job of that old 'sequencer as helicopter' schtick, which anyone who grew up with "The Dark Side of The Moon" will find very hard not to enjoy immensely.

And Sharp's instrumental palette is diverse also; the excellent title track makes impressive use of percussion and synth voices to flesh out its memorable keyboard arrangement, and the surprises continue to pop up at regular intervals thereafter.

This is a really lovely piece, and Sharp seems keen on revisiting and giving this treatment to more of the supernatural novels of his youth, and I for one, am very keen to hear how they shape up.

"Astercote" is available here on a name your own price basis: