Tales from the Attic
Revolutions of a 45 and 33 kind.
More musings from the Tales of the Attic sound shed as we unearth lost ramblings and variously cobbled together wordy things, coming days will see various Volcano the Bear, Ghost Box, Mega Dodo, oodles of 80’s sci-fi / horror soundtracks, fruits de Mer and other stuff gracing these listings.
On a lighter note LoveyDove – whose new lovely features in this very edition of Tales from the Attic – are shortly to land in the UK on a very brief tour and are looking for a last minute place to play in Liverpool – back yard and front rooms have not, I’m reliably informed, been ruled out, they are looking at November 4th – so if you can help either message here through facebook – details at the foot of this thesis or the duo direct via their facebook site https://www.facebook.com/azalia.snail
Okay this particular edition featuring listening lovelies from the following assembled gathering…..
Irene and the disappointments, idles, baby spiders, levitation, most valuable players, black channels, nosferatu d2, fuzz, zombie, dolly dolly, owl service, tauchsieder, French bloke, phantom horse, gnomes, paperface, retoryka, steso, chimney crow, Rodney Cromwell, hologram teen, the fuzztones, loveydove, pink milk, permanent clear light, ex Norwegian, schizo fun addict, bordellos, fisty kendall, concept devices, preservation society, dan Parkinson, jean Michel jarred, Kodiak deathbeds, seawitch, jane weaver, wrong signals, erm and charlotte, melmoth the wanderer, jim moon, resonace fm, belbury poly, pye audio corner, midwich youth club, the cush, drug cabin, group a, cassette store day, lust for youth, osmiroid, star gaze, grimm grimm, hurricane #1
Oh yes, just what the good doctor ordered, frankly I’m a tad concerned that we haven’t happened across these dudes thus far, Bristol based Idles cut the kind anthem raging angular agit pop that admirers of fellow city dwellers the Playwrights (not to mention the much missed sink and stove imprint) will weep proudly at. Laced in the darkening shadow plays of early 80’s post punk landscapes ‘romantic gestures’ comes ripped from a forthcoming EP entitled ‘meat’ through their own self financed Balley imprint, a hulking slab of gouging groove that festers and freewheels amid the turbulent turn of a prowling, prodding and punishing assault line that all at once stutters, staggers, swerves and soars with a face peeling euphoric swagger.
If you happen to be Stateside sometime around 11 in the general vicinity of Pete’s Candy Store in Brooklyn, then these dudes will be taking to the stage. This is the new platter from Baby Spiders who feature amid their ranks one time Lotion man and sometimes Schizo Fun Addict collaborator Tony Zajkowski. Three track EP ‘seven months out of the year’ has been garnering insider acclaim with lead cut ‘knockout gas’ looming from out of the primordial fog swaggering and strutting to cut up a fuzz frayed grizzled beatnik shakedown whose smoking locked groove bluesed out rumble gets low and dirty on Sabbathian fumes. Kissed with a seductive stratospheric siren-esque riff opine ‘summer triangle’ is slinkily trimmed in a deliciously snaking coda that shadow plays upon a coolly coalesced soft psych motif peppered with pop smarts aplenty while all said there’s something dirty and primitive coursing through the parting shot ‘hunter’ that had us fondly recalling lost Detroit dudes Gold Cash Gold albeit found here wasted, loose and high on classic blues mosaics that tether and unravel at the close to a tripped and zonked out keys oozed finale. https://babyspiders.bandcamp.com/
One release we are certainly looking forward to hearing is the great lost second full length from Levitation. Headed up by Terry Bickers, Levitation provided an apt outlet for the intricate atmospheric fretwork of the former House of Love man, oft derided at the time as being out of step and a tad progressive, there was no denying that ‘92’s ‘need for not’ was a strangely alluring beast practiced in the ways of the old and far removed for the tastes of the fashionistic populace that had dieted on shoegaze, madchester and grunge, ‘Smile’ from the debuting ‘Coppelia’’ EP was quite unlike anything of the day and this in spite of a quietly fancied prog scene hatching around the Delirium label – most notably Porcupine Tree. ‘meanwhile gardens’ was completed in ’93 just as the band were beginning to fracture leading to them ultimately going their separate ways, bootlegs exist, I’ve even heard today that recordings of the album filtering the public domain even went as far as to having Bickers removed lock stock and barrel from the mix. That said few have heard the complete recording sessions, now fully restored and pulled from the original master tapes and with the agreement of the band, flashback records are about to give the release a full on lavish double vinyl outing replete with artwork commissioned from the original artist Cally of antar and restored with its intended running order. For press release and further information go to https://www.normanrecords.com/records/155376
Put onto this by Joakim of timglaset fame, out via swede imprint Zion Light, ‘c-60’ is a collection of recordings set to tape by most valuable players in the early part of the noughties. Largely left forgotten and rediscovered recently, these little playfully affectionate gems have been lovingly tweaked and sent venturing out into the unknown rekindled anew. Due to time constraints we’ve only had time to be smitten by the A side, a wonderful cornucopia of lilting love notes which initially set their stall as though a fragile etching of spirographic electro pop which one suspects those much admiring of the bearsuit label ought to be seeking out but which then slowly but surely begins to thaw, form and emerge twinkled in a demurring array of shy eyed twinkle toned twee pop 9much reminiscent of the kind of outings spirited away in the late 90’s by imprints such as Shinkansen and Magic Marker) that to these ears nods ever so softly to the busy signals for populating the grooves here between the spectral wooziness and the dreamy celestial coos, a delicate oft sepia toned pristine pop mindset chirps and charms away faintly daubed in an attractive summery folk carefree calm and occasioned by the sound of dissolving tropicalic disorientation, agreeably lo-fi and minimalist but all the same kissed with a clever knowing craft and an impish skewiff and carnival-esque kookiness. https://zeonlight.bandcamp.com/album/c-60
Just 100 of these and selling fast out on pre-order, so if you want one you’d better act fast. Cassette only release put out by Castles in Space in readiness for CSD frivolities, these are the shadowy transmissions of occultist cold wavers Black Channels, a Brighton based duo who’ve been compared favourably to Broadcast and Cocteau Twins albeit as though both had been somehow subsumed into the chilling netherworlds of some hauntologist hinterland. With critically acclaimed 10 inch outing for Death Waltz Originals already under their collective belt ‘two knocks for yes’ offers a disquieting field account of occurrences beyond our grasp or understanding Set upon two sides, an elongated suite of dread headed horrorphonia along with a side worth of shorter incidentals that hone their ghost story effected soundtrack world, ‘twon knocks for yes’ makes for a disturbing auditory experience which we’ll visit in fuller detail at a later point. (un)safe to say for now we’ve immersed ourselves in the macabre mosaic that is the extended side long title track. A chilling slice of disorientating disquiet, a dark Séance perhaps communicating with those exiled to the realms of the beyond, a place where the Radiophonic strangeness of dreams of tall buildings, Mount Vernon Arts Lab and Bronnt Industries Kapital (notably ‘haxan’) collide and collude amid a mind fracturing paranormal shadow land populated by unearthly visitations, exorcisms, arcane rituals and sacrifices not to mention littered and scarred in the bleak forbidding terrorphonic wilderness of Kneale’s ‘Quatermass and the Pit’ and ‘the Stone Tape’. https://blackchannels-cis.bandcamp.com/
Once upon a time there was a band. They hailed from Croydon. They wrote songs about Croydon. One of them even mused upon their hometown burning down. They were called Noferatu D2. They recorded an album ‘we’re gonna walk around this city with our headphones on to block out the noise’. They split. A lot of people heard the album. Some even loved it. One admirer was so obsessed by it that he set up a label solely to release it. Then other people got to hear the album. They too loved it. The label is called Audio Antihero. They still release records. By other people obviously. Six years on they are releasing Noferatu D2’s album again. This time on cassette. For Cassette Store Day. Nosferatu D2 are still split up. What do they sound like. Well like all your favourite bands (Pavement, the Fall, Wedding Present, Felt, Stump….the list could go on….). And yet, like none of them at all. Some people have called them reflective. Others have said introspective. One or two made mention of miserable. There is a rainy day ho hum matter of fact Englishness about them. Like Half Man Half Biscuit only in sunnier weather with bigger chips on their shoulder. They play pop. Only it’s scuffed and angular. They sound like a Peel house band. They name check people. ‘Colonel Parker is about the woes of not being able to sing like Elvis. ‘Springsteen’ and ‘we’ll play the power of love by Frankie goes to Hollywood a thousand time tonight’ both dismissive odes to their home town. Burt Bacharach as in ‘I killed…..’ is the best thing here especially if you loved ‘Seamonsters’ by Gedge and Co. You need this release. Even if you don’t have a tape player. Buy it. Start a tape collection. And while we’ve been typing this Nosferatu D2 are still split up.
I’m so disappointed with myself because I can’t tell you exactly where the hell I zoned in on this from if only to thank them for sharing. What I can tell you though, is that literally five seconds in we’d proudly sprouted a hulking line in face furniture, and not mere chin stroking face fuzz or stuff you can hang and tug on, but full on shearing kind that you can make jumpers out of. This lovely folks is the forthcoming thang from Fuzz who feature amid their enviable ranks, one Ty Segall who it seems of late has gone over and beyond the tag of workaholic into being someone who’d find psyche musicality in the patter of rain. We suspect this is a first listen stream of the album – you’ll have to bear with us on that, for we’ve been unable to get past the opening cut through an inability to pick our jaw up off the floor. Anyway the album is titled ‘II’ and its out very soon, that opening track by the way is a killer slab of fuzz fried Sabbathian groove gouged in head expanding tripped out beatnik-ified freak some out there wasted glam, kind of a shit faced Sweet Apples stoned out scuffed up T-Rexian stomps. http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii
Another release we are eager to get our hands on and ears around is a new opus from Zombi. ‘shape shift’ is their first new material in four years and coincides with relapse’s 25th anniversary who’ll be celebrating the event with all manner of variants that include variously coloured wax slabs (one being silver – as in silver anniversary – and an eye catching red / blue split with white splatter) and a very limited cassette. Sent ahead as a herald this is ‘pillars of the dawn’is a gloriously panoramic slice of progressive kosmiche that has one eye peaking into the future and the other fondly musing over the past whereupon through galactic visors and to motorik pulsar rays flanked in celestial monastic chorals they navigate their way to ‘blade runner’ styled frontiers headed up by pilot shuttles commandeered by Vangelis and Carpenter.
While you’re at the relapse shop trying to decide which variant of the new Zombi release, you might want to check out Steve Moore’s soundtrack for the Belgium horror flick ‘Cub’. You probably needn’t need reminding that Steve Moore occupies one seat in the Zombi cosmic shuttle craft, again this set gets the lavish multi-media treatment from relapse with both silver and your standard black vinyl pressings available in limited number. The film released last year is your typical blood lusting manic maniac in the woodlands on a hunting spree affair over which Mr Moore’s superbly minimalist score tensely hooks into the plotlines terrain and edgy sense of detachment and desolation with ‘the treehouse’ on first initial hears proving to be the sets most enticing moment as its veers ominously from light to dark and from mournful beauty to oppressive gloom and fearfulness with stilled spectral majesty. http://stevemoore2600.bandcamp.com/album/cub-original-motion-picture-soundtrack
And so oft we venture down the rabbit hole to be greeted by the woozy and willowy strange wonders of the day dreaming Dolly Dolly, to a place where time bends and surroundings dissolve and reform anew, to the chuckle and chuff of Vernon Elliott mosaics and 70’s children TV mirages, where the momentary stirs of the gloom are shooed away by freshly picked pastoral posies and the nursery room play of yawning toys, a surreal Morris like Blue Room experience fashioned out of dusty tapes, lost folk spirituals and ghostly visitations – affectionately crooked, occasionally strange, always charming. Dolly Dolly will be comparing the forthcoming Buried Treasure evening ‘the Delaware Road’. http://kitrecords.com/kit-mix-98-dolly-dolly/
Two key note releases shortly to emerge from the Owl Service. Of need of no introduction in these pages, once upon at time these musings were heavily populated by not only their releases but by outings on the collectives extended family gathering as found dwelling upon the Hobby Horse imprint. Steve Collins led from the fore on both fronts heading up both the label and the Owl Service, the latter positioning themselves whether actually or inadvertently as one of the early flag bearers of the nu / psych / wyrd folk. Talking to Folk Radio, Mr Collins admitted that these last few years have found him shying away from folk music, instead listening to, amongst others, Fugazi, Shipping News and Shellac. Commenting upon the new album ‘his pride. No spear. No friend’, he promises a shift in direction moving towards what folk radio describe as a ‘classic folk rock’ sound something which appreciably tumbles forth on the teaser track ‘the widow’s lament’ which you don’t need reminding greeted the opening scenes of Brit folk horror ‘the wicker man’. Quite frankly perfect for the coming Autumnal chill, in the hands of Collins and Co, this ghostly ballad is reframed anew brimming in a giving adore that’s trimmed in a rich fulsome bouquet of mystery and desire.
Okay we erred in saying there were two keynote owl service releases, there are in fact three because we’ve just stumbled over the name your price ‘four hits from hell’ collection, perfect I’m sure you’ll agree for the coming All Hallows festivities with the set featuring a smattering of rare treats issued as give away freebies many full moons ago including two well heeled Danzig covers whilst he was with Misfits and Samhain, but it’s the ‘phantasm’ cover that was always going to get first dibs in the affection stakes though that said the Collins / Cooper penned ‘night falls on summer’s end’ holds its own proving to be the best thing here – a fog bound spiritual steeped in a head tripping wooziness.
However those arriving a tad late to the Owl Service might want to get your lobes around ‘collected tracks’ – which I must admit we’ve not had a chance to hear in full yet, but is what can only be described as a colossal gathering of OS treats featuring a rare inside peak into their craft, which across 41 tracks plays host to a feasting of long deleted cuts, live renditions, limited outings and rare session versions. A truly amazing listening treat which at present we are struggling to get beyond the spectral lullaby beauty of ‘fine horseman’ and the jaw dropping cover of the theme to ‘psychomania’ surely the finest slice of horrorphonic acid psych ever committed to a movie soundtrack.
inadvertently put onto this by the guys at Castles in Space among whose brethren lurk Tauchsieder who we’ve had cause to mention in previous despatches to much fond hoo-hah – anyhow this gets a little confusing – so bear with us…..seems the duo have set themselves the task of releasing cassettes in quantities of 100 featuring various artists they’ve managed to get in contact with the result of which they’ve acquired some 96 hours worth of sounds that have been used on various ‘the dark outside’ radio broadcasts. Still in the planning and deciding what’s what stage of matters we suggest you drop by at various intervals here http://www.darkoutside.co.uk/tapes for current updated transmissions. All vague I know but on the off chance that you’re intrigue has been tweaked we here are guessing that what you might find might not be too far removed from this deceptively eerie nugget from another era. Now we are certain we mentioned this way back in the day, we could be – and probably are wrong, but this is ringing to the sound of familiar alarm bells in my headspace – by frenchbloke this is a nifty slice of astral drone crookedness inspired by a Blind Willie Johnson track pressed upon the golden disc super-glued to the hull of Voyager – what emerges is a 30 minute cosmedelic solar sonic event that frankly sounds as though it overshot its intended mission statement to voyage beyond the pull of black holes and dark matter and into e-space. https://soundcloud.com/frenchbloke/frenchbloke-blues-for
staying loosely with castles in space, you might recall us falling hopelessly for black channel’s ‘two knocks for yes’ limited cassette release during the course of which we made mention of an earlier hotly acclaimed outing for death waltz originals. Well never let it be said that we take no for an answer because we’ve managed to unearth a brace of cuts from that ultra limited ‘oracles’ 10 inch set. We here are more than a tad taken with ‘depth of field’ which sits over on the flip, a brooding beauty darkly woven amid purring shadow falls to sound like a chill toned slice of glassy minimalist chamber electronics that imagines the bruised beauty of portishead being rephrased by a analogue vintage loving gathering of Weird records types and then dutifully rubbed in the essences of the Virgin Passages. Equally attractive and found tweaking the ear lobes is ‘Oracles’- a delicately alluring spectral beauty tripped upon an hallucinogenic dream wave which to these ears had us imagining with jaw dropped adoration a kind of studio summit meeting happened upon by Broadcast and Add N \to X. Admirers of Virginia Wing will swoon. https://soundcloud.com/blackchannelsband/sets/oracles
Been a fair old while since the sounds emanating from the Umor Rex stable came by to seduce our stereo system, which is why there was a wry affectionate smile forming upon our lips when we eyed this little cutie. Indeed too brief for its own good, just when you feel it’s beginning to thaw out, blossom and come into its own then the blighter has scuttled off. A limited 300 only vinyl visitation entitled ‘different forces’ from phantom horse about whom we can reliably tell you are a Hamburg based duo Ulf and Niklas. This teaser treat is what they used to call something of a slow burner emerging delicately across a softly formed looping pattern bedded upon swathes of whispery vapour trails that combine to forge a lilting minimalist electro light show which if the ears do not deceive, points shyly towards the more mellowed and quietly purred turntable encounters we had cause to delight in courtesy of the Bureau B imprint.
Busy issuing forth variously penned begging missives in an attempt to lay hands and ears on this ‘un, the debut long playing platter from Russian cosmidelicists Gnoomes entitled ‘Ngan’ through rocket recordings. On the flight deck ‘roadhouse’ blissfully transmits its hypno grooving mind expansion by way of vapour trailing lysergia, wired to its matrix the subtle echo of Will Bunnymen-esque riffs ripple outwards into the ether, the trance toned astral ride peppered to the occasioning of fizzing sun spot crackles assume a cooling shade adorned sereneness which recalls a cruise controlling Hookworms by our reckoning.
Adored so much around our gaff we’re almost minded to say it’s the best thing we’ve heard since – as it happens – the last Trout outing from Saint Sister. This is O Emperor sporting a rather dandy illuminati inspired animated video for the track ‘Switchblade’, a honey crusted gem ripped from their forthcoming ‘Lizard’ EP that freewheels sumptuously into the same kind of breezily toned soft psych 70’s MOR mellowing as endeared outings by Tokolosh to our trusty turntable, everything from its subtle effervescent shading, its knowing swagger and ear hooking pop kudos has it hitting the button with an unfailing dead eyed accuracy each and every time, perfect in our much humbled opinion.
Quite smitten with this, culled from a forthcoming full length entitled ‘light weight’ out via spunk / caroline, this is Melbourne based sextet the Ocean Party with ‘black blood’ – a withdrawing and bruised beauty whose soft shimmer toning and delicately authored artistry succinctly manage to slinkily shadow play between the cracks existing between a wistful Go Betweens and a forlorn Church. https://soundcloud.com/spunkrecords/black-blood-1
Welcome weird ear gear from the Electric Phantom stable. If this gets in the wrong hands I’m suspecting huge underground adoration will be its reward. Just gets under the skin. Sparse, tense and trippy not to mention warped. A real time travelling throwback to the late 70’s early 80’s electro scene, I’m choking on the Cabaret Voltaire and Clock DVA fumes it gives off. This be the new strangeness from Chimney Crow, a glacial psychotronic bad boy that in truth sounds like an evil twin Suicide mainlining on a diet of Frank Wobbly and Sons off cuts, sweats paranoia and chills with stalker like intent whilst bedded firmly on a killer mind wiping motorik death disco grooving, oh and it’s called ’17 guns’.
This has literally just waltzed into our listening space, very tasty indeed, a new dandy from Rodney Cromwell entitled the ‘black dog’ EP – we here are rather fond of the opening ‘version’ mix which to not put a fine point on matters is a Meek mutated classic era New Order rephrased through a Sarah records approved pristine pop phrase book – more precisely – think Another Sunny Day muddying the studio tapes, acutely infectious to the extent it ought to come with jabs. Come to think of it ‘you will struggle’ is no slouch in the affection stakes sounding here like a hippy chic 90’s recalibration of Moroder / Summer’s ‘I feel love’ by a lost in the groove Paris Angels.
Those preferring their ear gear somewhat seduced in lights lowered noir traced sophistication may find the call of Hologram Teen’s ‘post apocalypteacakes’ advances a little too irresistible to avert. Essentially the solo guise of ex Stereolab-er Morgane Lhote this shape shifting floor adoring slice of uber cool has been variously tagged as horror disco or to put it more pertinently in the words of its author as ‘the soundtrack featuring Boris Karloff hanging out at Studio 54’ – which in truth is no bad descriptor but surely plays down the multi-faceted nature of this amorphous free flowing honey. To the enigmatic choral cool of monastic chants and an opening sly nod to Goblin, ‘post apocalypteacakes’ flickers, flutters and flirts around a myriad of sonic time lines playfully skirting with the monochromatic majesty of an ‘add insult to injury’ era Add N to X whilst similarly shadow playing in the waters of an ahead of the curve early 80’s New Order before seductively demurring all in a twinkling lunar light show of coalescing down tempo chill toned kosmiche techno hybrids of the type that Zombi may enviably purr to. Incidentally the two track feast is incoming shortly on a Deep Distance 7 inch. https://soundcloud.com/hologramteen/post-apocalypteacakes-feat-buddy-cop
Some bands spend years aspiring to be cool. Others hook upon passing trend wagons hoping to catch a critically hip wave. The Fuzztones on the other hand just ooze the stuff. In an era where everyone and everything has a passing interest in the authentic, the chic and the style of the 60’s, these dudes sound as though they’ve been frozen in time. They are a walking, talking, strutting Pebbles / Nuggets throwback whose swagger and vintage puts many a so called garage psych wannabe firmly in the shade. In short they are the definitive article. ‘psychorama’ is a mammoth and for once reasonably priced box set gathering of five CD’s featuring long since deleted albums from the dawn of the bands career that includes a previously unreleased DVD of their ’85 Elixir Festival appearance plus a must have red wax 7 inch that finds them paired up with the legendary Screamin’ Jay Hawkins with the addition of extensive liner notes penned by head Fuzztone Rudi Protrudi. Wowzah.
Not wishing to get embroiled in any political hoo-hah’ing but this next one I suppose can be best described as a kind of soft psychedelic prayer in honour of Presidential hopeful the Democrat Bernie Sanders. By LoveyDove – that’ll be Dan West and Azalia Snail – who are shortly to embark on a brief whistle stop tour of Europe and the UK, ‘Bernie’s Air’ is a softly set dream weaved lunar carousel daintily dimpled in the genteel purr of radiant 60’s kaleidoscopic shimmer toning which if our ears do detect rightly delicately arcs to touch the outer realms of Broadcast’s sphere of influence. https://loveydove1.bandcamp.com/
This is quite sublime, literally seeped in fracturing desperation and by our reckoning wipes the floor with the original. This is – er – Foreigner’s ‘I want to know what love is’ as rephrased and viewed through the opiate sunglasses of Gothenburg based duo Pink Milk, who’ve flipped the 80’s power ballad on its head to re-imagine the song from the perspective of Death’s erstwhile shortcomings in the dating game found here all dream draped in the kind of hazily glazed softly slo-cored shoegazey seduction that many of you may have encountered with reference to the kind of starry eyed sonic vapour trails put out by the likes of Sonic Cathedral and Club AC30 in recent times and yes there is a subtle nod to Julee Cruise woozily whispering amid the demurring dissipates.
A most unexpected joy found waiting on our welcome mat as we stepped in from the Autumnal snap after a day’s 9 to 5 drudgery. Fruits de Mer veer into the year-end celebrations with news of some killer releases waiting in the wings to grace their enviable roster, both the Chemistry Set and Michael Padilla outings, due very early 2016, have, I can tell you, been holding our stereophonic player to ransom since arriving last week. The same can be said for a superb Jack Ellister set while the anticipation of the long known about ‘Bowie’ covers subscribers freebie, has had us pacing to and forth to the letterbox with the kind of expectant eagerness afforded to a child at Christmas. And then there’s this. With a slated release date poised for Christmas Day and pressed up on a strictly limited 50 only lathe cut 7 inch, the last official FdM release of the year looking like creating a collectors feeding frenzy when it goes on sale. A split single no less with familiar favourites Permanent Clear Light sharing groove space with Ex Norwegian for what is a very special outing. Ex Norwegian open the event, a cover of an old String Driven Thing tune made famous by a on the decline Bay City Rollers in the latter half of the 70’s, left in the hands of these Miami Beach based dudes ‘it’s a game’ assumes a sunny sided effervescence that shimmers with a Raspberries like pristine pop toning, add in the psych phasing trims and a shading of 60’s day-glo’ing replete with a smarting power popping pout and you have yourself an acutely infectious vintage stirred superbly in a Flamin Groovies meets the Velvet Crush fashioning. Over on the flip, Permanent Clear Light take time out from putting the finishing coat on their second album ‘the other side of life’ to adore this lathe grooved platter with the self penned ‘Corneville Skyline’. A deliciously dreamy slice of psych tinged woozy pastoral loveliness which upon first listens loiters blissfully on the steps of XTC’s ‘oranges and lemons’ yet on repeat listens radiantly reveals itself as a Pretty Things peculiar resulting from a studio love in with Arthur Lee’s Love with both gathering parties lazing beneath the softening shade glow of the A side of the Beatles ‘Magic Mystery Tour.
Now we were going to do a heads up / introductory piece on the following release, but then we saw Jet’’s posting and well what better way could we fanfare this much looked forward to release than to get the inside track from the horse’s mouth so to speak…….
‘(I) was up late last night creating these, hand painted cassette cases for the forthcoming ltd edition – 100 copies only – split cassette double album with SCHIZO FUN ADDICT and The Bordellos on Small Bear Records – proceeds going to Save the Children UK charity. These will come with goodie bags stuffed with a very special ltd edition 100 only CD – unique to this release, replete with an official colour sleeve made by Fruits de Mer Records – featuring two amazing bands Ex Norwegian and Permanent Clear Light. Also stuffed with a double CD anthology by the brilliant Postcode, and another killer CD album by Phil Reynolds and the Dearly Departed. Furthermore, the cassette cases will have attached upon them, one of 100 fragments of a John Squire lithograph (itself a ltd edition of 250 hand numbered) sold at The Stone Roses legendary Phoenix Park gig. And there’s more – you get a hi-quality download for the Bandcamp release proceeds of which will be paid directly to Save The Children in perpetuity – that means forever kids. This is a pure work of art for charity, I am paying for my own copy… as is everyone involved. The minimum donation will be approximately 12£ or 18$… plus shipping. These cases will also be numbered / signed by yours truly. It is a great cause and it will be worth more than you paid for it on Ebay the day it sells out… which better be day of release, or Jayne Gabriel is gonna be giving her patented lobster strikes to all of you. Trust me, you don’t want that.’
This release has been on our radar for over a year, its initial coming together has a little back story which will be revealed when we come to review it. Slated arrival is poised around the fall of November, we will keep you updated. But just to round up, split cassette featuring – two of our favourite bands – that’s comprised of a full album from Schizo Fun Addict one side and the Bordellos on the other. Each cassette signed, numbered and adorned with Pollock-esque artwork by Jet Schizo. A strictly limited 100 only outing that comes housed in a Fruits de Mer endorsed goodie bag through the ever excellent Small Bear imprint – all proceeds go to the Save the Children charity. Incidentally the permanent Clar Light / Ex Norwegian CD to which Jet mentions features the two tracks available through Fruits de Mer as a forthcoming 50 only limited lathe 7 inch.
Briefly gave this a heads up on our cassette store day soiree (somewhere earlier), this is ‘the long Halloween mixtape’ put out by Third Kind records, a limited c105 cassette pressing featuring a whole gathering of artists we’ve not thus far heard of but assembled here partaking in strangely eerie sonic séances with the Halloween III soundtrack or so it seems judging by the brief ear tugging that the opening two cuts offered by way of their weirdly woozy out there greeting calls. Very much a choice of listening weapon for those who love their sounds sculptured in deep dark drone and something which ought to bend, fry and allure those among you well versed in the more minimalist and abstract grooves emanating from the Trensmat imprint. Of course I jest a little but its true to say that from we’ve heard there’s clear evidence at hand that these folk have passed through the mind frying experience that is Loop and the Telescopes at one time or another. Concept Devices open the tapes account with ‘Skip Rat’ – a hulking psychtronic drone monolith prowling the twilight voids, a glowering titan shimmered in eerie orbs hovering with disquieting intent. Slightly more playful likewise traced in stilled detachment, Wrong Signals’ ‘battle fields’ offers something of a melancholic mechanoid mosaic, an as were frantic final transmission by way of a binary distress call sign tapped out furiously before the oncoming onset of oblivion at the approach of the deathly advance of a sun frying storm. Also better mention Fisty Kendall who incidentally has a cassette out at the same time called ‘mind control’ – which by the way we’ve also sent begging letters out for, all said for now ‘I feeding you’ featured here is adored in an ice crystal majesty, a down tempo symphony trimmed in opining siren-esque yearns ushered through the ethereal haze. And while we are guess then I guess it won’t harm us to mention Erm and Charlotte’s quite bizarrely beautiful ‘they came from the sky’ – a most unsettling sound spectacle that creaks uneasily over a sepia set threadbare strum upon which Charlotte coos dreamily over Erm’s despondent and resigned morbid story board which by the way sounds suspiciously like that Staples bloke from Tindersticks. https://thirdkindrecords.bandcamp.com/album/the-long-halloween-mixtape
This being the season of haunting, we thought we’d exhume from the vault and dust down this little nugget, transmitted originally last year, this Melmoth macabre features a guest narration from Hypnobob’s Jim Moon, a chilling telling of ‘Varney the Vampire’ – a Penny Dreadful published around 1850 and written by James Malcolm Rymer, it was considered to be the definitive tome about the Vampire legend and a key influence on Stoker’s ‘Dracula’ – at its core the protagonist’s struggle of hating and loathing his curse and yet being a slave to its feeding – this lasybird story tape version comes adorned by an eerie sonic spell craft weaved by the Melmoth magician to include within its tapestry ghostly visitations by rowan amber mill, plinth, oxford ambient collective and more besides……https://www.mixcloud.com/Melmoth_The_Wanderer/varney-the-vampire/
Another short podcast type thing – this being the 250th edition of Resonance FM’s ‘pull the plug’ show which ambles along quite sweetly featuring treats aplenty from midwich youth club and the cush, both of whom we’ve featured fondly in recent times with the formers ‘let’s go home’ delightfully dinked in the kind of mid 70’s wonky fantasia that suggests cheesecloth ought to be your main chosen apparel while sitting watching the gogglebox for Saturday seaside special re-runs while your hipster dad plays wax things by the kraftwerk on that there record playing device. The cush’s ‘distant light’ as said caught our ear a little while back – sadly despite requests we never did get review downloads – still this is irresistible, an ethereal Neil Young spiritual all spectral reverbs, achingly gorgeous. Next up the first of two ghost box visitations, pye audio corner’s ‘deep end’ comes touched with a tear stained classicist majesty that’s all at once genteel, tender and fraily vulnerable. We must admit to being adoring of Belbury Poly’s quirky noodles, 70’s styled children’s TV fantasia’s that beam chirpiness and kookiness in equal measure with ‘farmer’s angle’ seemingly refusing to buck the trend in sounding like a hulking lunar seaside promenade orbiting some distant sun star. Those among you fancying your listening space swooned in the forlorn glide of sliding riffs and exotic allures might do well to tag onto drug cabin quite deceptively chilled and cosy toed ‘space program’ while group a’s ’initiation’ arrives steeled in a superbly crafted early 80’s cold wave minimalism that had us here imagining some secret thought lost studio face off happened upon by a gathering of Grace Jones, SPK and Native Hipster types. https://www.mixcloud.com/Resonance/pull-the-plug-8th-october-2015/
Cassette Store Day looms large. It’s a remarkable feat for a medium which was all but consigned to history with the onset of the download and the various technological advances introducing platforms making ripping and the transfer of sound files easier. The fondness for the ailing cassette hasn’t gone unnoticed, the biggest seller at this year’s Record Store Day wasn’t as you’d rightly expect a wax platter, but a trusty old tape release put out by Metallica. Yet the success of ‘no life till leather’ should have proven no surprise to the indie kids, whether a curious fad for vintage or a fashion statement, the last few years have seen the rise of cassette only labels, admittedly prevalent in the experimental / drone / noise spectrums of the music scene, recent years have seen a growing number of fledging bedroom labels adopting them as their chosen weapon of issue. In some respects there’s a cosiness and a sense of coolness attaching to the cassette that far out strips the relative sound merits of vinyl, I mean how many of us of a certain age have sat up at night compiling cassette track lists for loved ones and friends or sat there illegally taping copies of albums lent from mates, pilfered from siblings or bought from shops (with a view to taking them back next day). Or maybe there’s a griping fondness for hours spent with pencil in hand trying with difficulty to repair tapes chewed by players (I won’t even mention the joys of cutting and splicing the blighters) or weeping when you’ve found that your tape heads have decided to slip with the result that they’ve recorded your Peel show or Top 40 countdown either too slow or too fast. In a digital age where everything is designed for ease of use and speed, the trusted tape was perhaps the most un-user friendly resource ever. Even transferring them digitally is a painstaking process requiring real time processing and an equal amount of time cleaning and enhancing their sound.
To give you an idea as to how popular cassettes were at one time is to consider this small but relevant fact – the cassette was the most popular medium for pre recorded music in the 80’s outstripping vinyl sales to such extent that by 1988 – their peak year – over 73 million were produced. That said I must admit to having a lasting love for them, I miss my Silver radio cassette and my Hitachi 3D boombox, they both went to the sound system scrap yard in the sky many years ago. But the cassettes, they still thankfully remain – over 3000 of the blighters, I’ve even got the first blank cassette I ever owned, a realistic c-60 from Tandy – remember them, then there’s the TDK – the iconic AD90 later to be superseded by the SA model, then there was the Sony tapes in green and purple while who could forget those Pete Murphy adverts for Maxell – a popularist choice for many in varieties of red and gold – we quite liked the XLII brand. Yet all said I was always a tad fond of the That’s brand – the quality, the sound, the look and of course the durability made them top of my shopping lists in the early 90’s – a fact made ever more better and lighter on the pocket that Richer Sounds sold them at extremely competitive prices – how could we resist.- with the TX and MH versions being our chosen weapon of recording.
One of the rarest cassettes ever to go to auction is a demo tape by Radiohead, thought to be the only copy in existence, the cassette dated back to the mid 80’s when the band still traded under the name On a Friday – after a frenzied bidding war the cassette finally sold and realised some $2,000 for its seller. Elsewhere early cassette issues such as Muse’s ‘Newton Abbot’ demo, Nine Inch Nails’ ‘pretty hate machine’ and those early self released outings from Porcupine Tree are still to this day high hitters on the auction sites.
Like vinyl, the cassette has in recent years, slowly returned to the fray, still largely the domain of the true DIY bedroom label, there’s been a slow surge in labels releasing limited cassette variants to attract record collectors and completists alike, where once vinyl editions were the carrot on the stick to bring in early sales, there’s been in recent years a reliance on the tape medium. As to why is anyone’s guess, though the limited outlet for vinyl pressing may point one way, some have suggested the intimacy afforded by the cassette in so much as to their personal nature, their relative ease of use and convenience, that sense of being closer to the band and more so, closer to the recording. Personal in terms of bands hand producing them, including art work, inserts, the whole marketing mechanism of selling them at gigs affords the consumer something that the other mediums really can’t compete with.
Another area where tapes out trump other mediums is to do with their legacy, I mean tape culture, perhaps only file sharing comes close, it’s to do with that whole tape sharing / swapping ideology, trading, bootlegging and bastardising recordings through cut ups, splicing and many other wonderfully inventive methods – I swear I have a killer 20 minute plus home-made version of Smiths’ ‘this charming man’ lurking in one of the many boxes in our gaff not to mention a truly spaced out self made edit of Agents Aren’t Aeroplanes’ ‘the upstroke’. And of course lest we forget NME’s legendary C-81 and C-86 freebies, in the blink of an eye or nearly an hour and a half the one time bible of the musical masses inadvertently coined a genre of their own that enabled lazy journos of a certain ilk to tar and feather bands beneath ill fitting flags – personally we loved the freebie cassettes put out by the short lived magazine the underground but what do we know.
And so to the third Cassette Store Day soiree, started by accident, an idea born out the gathering of some folk from the kissability, suplex, trangressive and sexbeat tribes, that the first occurred just as the forgotten cassette was celebrating its 50th anniversary was another happy coincidence. An international event now, not quite up there with its vinyl sibling but generating enough clout to have a fair few big players sporting their wares tomorrow – notably the Kaiser Chiefs and the Maccabees – alas not our personal cup of tea for we’ll be searching high and low for a limited outing of ‘Shogun Assassin’ through light in the attic as well as a handful of burger records must have’s and a few well heeled releases on the third kind imprint including a Halloween mix tape. And talking of Halloween…..for another time then.
Details of all releases / participating stores and one eye watering gubbins go to –
Think these press people know us better than ourselves, I mean describing said record as ‘gloomy 80’s synth pop’ was always going to guarantee it getting prime attention on the turntable. 80’s sounding it certainly is, gloomy not so sure, atmospheric and brooding a given. This is a forthcoming platter from Copenhagen trio Lust for Youth entitled ‘better looking brother’ – which I must admit talking title wise has never been an issue for us has it r’kid? Anyhow this one is emerging soon on the curiously poppy sounding of late Sacred Bones imprint, 7 minutes of world’s trouble shouldering seriously looking long overcoat wearing shadow drizzled majesty back dropped by fire scorched thunder storms which I’ll admit had us back footing a tad on several occasions not least because it shifts from Passage style bleakness through the kind of pop presets that touch base with the Church and the kind of stuff that Situation 2 oft troubled the top table of the indie charts in the mid 80’s before coalescing as though the work of a supergroup forged from the apocalyptic ashes of a ‘brotherhood’ era New Order and the Mission. https://soundcloud.com/sacredbones/lust-for-youth-better-looking-brother/
Frankly if there’s ever the occasion that puzzled looks or words of disagreement are hitherto witnessed or heard when Jane Weaver holds court upon our turntable, they are usually met with the disapproving stare. Ask the junior set for they will tell you that no raised voices are heard – it’s the stare. Intense, deep set and locked, without the need for words it translates as a red flag, a no go zone, a warning sign that you’ve encroached upon a place no doubt mistakenly and that the best course of action is to stop, be silent, turn around and return back to where you were. Don’t know why I’m telling you this, it’s not as though I’m getting paid by the words and to be honest has this little trinket of knowledge enriched your lives. I fear not. But in our humbled opinion Jane Weaver can do no wrong, a bit like Natasha Khan come to think of it – she appears soon by the way. Pulled from her acclaimed ‘the silver globe’ set this is ‘I need a connection’ – four minutes of demurring dream drift perfection, a lunar love note orbiting in the starry heavens transmitting siren-esque distress calls across the solar voids all tenderly trimmed and powered by Moroder pulsars. is this the one sided 12 inch platter we’ve read about somewhere or are we confusing ourselves with something else – answers please finders keepers dudes.
As previously advertised Natasha Khans’ latest listening groove is a collaboration with various Toy dudes and producer Dan Carey, they’re called Sexwitch and they have a limited self titled full length through echo just out which features, we believe, a handful of covers of obscure late 60’s / 70’s psych weirdness, it’s kind of freaky, heavy and can be found pissing in the pool of blue cheer albeit as though re-imagined as wasted voodoo children, we here are quite taken by ‘helelyos’ – a bad assed slab of acid wired snake charming freakbeat gouged in a deliriously mesmeric lock grooved mantra woozed in mind expansive Tibetan charms which to these ears sound like out there stoned sonics. There will be further visitations as soon as we lay our feverish hands upon a copy…….
Incoming from Steso something quite attractively tranquil in the shape of ‘Mjorkabarn’. You might recall us falling head over heels for this lots ‘Kav’ at the close of last year sometime, I’m not rightly sure whether we ever got copies of their ‘proper fucked’ full length. Anyhow if memory serves right this is more of your sumptuous Scandinavian purred pop which as you all should know by now has long been a region with an exquisite reputation for turning out some of the finest and most entrancing sound sorties in record world and this ‘un is no exception. Possessed of that same glacial elegance that courted the ethereal groove lines of Sigur Ros’ debuting platter albeit here as though dreamily teased by the mellowing flotillas oozing through Manual’s lost in the moment ‘Azure Vista’, Steso apply the sensual and seductive presets to disarming detail and set sail seafaring for lushly smouldered horizons draped in lazy eyed mosaics all trimmed in an exotic subtly oriental casing, adorable in a word. https://soundcloud.com/stesofo/mjorkabarn
with the anniversary of Mr Peel’s untimely passing approaching, we’d like to think he’d be quite smitten of this delightful sortie by Irene and the Disappointments, not least because aside the fact that ‘Hugs’ comes pre-swooned with a vocal unlike anything we’ve had the pleasure of hearing since Harriet Wheeler’s fragile tonalities demurred the late night radio rooms ambience whilst fronting the Sundays, but more importantly where you to scratch a little deeper at the tracks feel good surface sweetness you’ll hear the audible echo of the kind of riffing shimmers that occasioned the grooves of platters with Roy Orbison’s name stamped proudly upon their hide which unless I’m very much mistaken appear somewhere around the 1.10 mark, now that is as far as I’m concerned – class.
Long time visitors to these pages will be all too aware of our undying affection for Gerry Anderson’s live action late 60’s / early 70’s TV show ‘UFO’ – Barry Gray’s uber funky wiggy and jiggy lounge lilted soundtrack was adorned by an ultra limited outing many years ago by the esteemed Trunk imprint as well as an even rare 40th anniversary collection put out by the Fanderson organisation. So imagine our – somewhat – mixed feelings of delight and jaw dropped shock in turning up this little nugget by the Preservation Society. Released on limited issue sometime last year on Austrian imprint Record Shack this is a Hammond drenched reinterpretation of the show’s title theme by the Preservation Society, a freak-o-ramic slab of funked out 60’s shimmer toning all woozily fried as a full on sassy and sexy shakedown with some subtle Batman interweaves – frankly I’ve gotta get myself one of these babies. Oh and as an added bonus there’s a totally wigged out version of ‘space 1999’ on the flip. https://soundcloud.com/j-rg-recordshack/rs45-007a-tps-the-preservation-society-ufo
news of more cutting room cuties from those lathe loving dudes over at 3.45rpm, this ‘un from Osmiroid is a real head burner, a one sided 12 inch lathe replete with all manner of insert gubbins limited to just 17 and featuring one 16 minute slab of doom draped disquiet entitled ‘KOG (Apostille’s Bloody Moon mix)’.be fair warned this is not your happy clappy pop tat, cloaked in grim portent there’s a simmering menace attaching to these grooves, insectoid chatter spliced with deathly pulsars give a dread feeling of remoteness and detachment, the landscape threadbare and threatened with ghostly echoes bleakly pulsates with droning claustrophobia like some light consuming black hole, much reminiscent as it happens of the kind of minimalist weird ear gear that used to arrive with grateful frequency once upon a time from Scotch Tapes and Frequent Sea records. http://starsdotsandthenewjunk.bandcamp.com/album/kog-apostilles-bloody-moon-mix
staying loosely with 3.45rpm a little while longer, here’s a little something exquisite and elegant from Dan Parkinson entitled ‘and from the deepest valley, I soar’ – an improvised piano piece marked out by its craft, expressiveness and sheer balance of beauty through its shadings of dark and light tonalities which amid its finitely turned 9 and a half minute visitation manages to encroach and instil a mood fleeting imagery twisted and teetering in suspense, drama, foreboding noir and sheer beautified eloquence. Available in a limited pressing of 15 all on 10 inches of lathe cut vinyl. https://danparkinson.bandcamp.com/track/and-from-the-deepest-valley-i-soar
returning to Jean Michel Jarre ahead of the release of his collaborative collection ‘electronica’ – herewith sound snippets and commentary from both the man himself and John Carpenter on their set defining face off ‘a question of blood’ – brooding, enigmatic and from somewhere else.
Incoming soon on transgressive, this is Stargaze’s debut for the imprint ‘data’ taken from a 19 minute suite entitled ‘deerhoof chamber variations’ – a dreamy sound collage featuring an interpretation based on a Greg Saunier (who as it happens features here in collaborative mode) penned track ‘9 ½ songs’. A defence breeching sweetie purred in hushed harmonic haloes sparingly trimmed in Autumnal brass parps, though sparsely fragile, the effect is entrancing and beguiling much like a forgotten ghostly flutterby embarked upon by a playfully minded Mary Hansen and Laetitia Sadier found sneaking into the studios for a pre-recording ‘Cobra and Phases’ session. Adorable.
Had I not seen the accompanying video to Grimm Grimm’s ‘tell the truth’ I’d have probably noted in said review of its lazy eyed almost slo-mo seduction a la Cheval Sombre had he been signed to rocket girl. But since when have you known us to shy away from something offered and obvious as this moving picture montage so ably gives away. A gorgeous slice of lightly sprayed dream pop, the delicately languid strum shimmers ripple and drift hazily, momentarily abandoned of their fixings arrested and adored to be marooned in a sweet moment frozen and time locked not to say twinkled in a seafaring sereneness. Captivating in short and much reminiscent or should I say minded as though a secret studio summit featuring a gathering of Butterflies of Love, the Doleful Lions and Clientele types. Incidentally available from ATP recordings and pulled from a set called ‘hazy eyes maybe’.
I must apologise to all concerned but we’ve somewhat missed a trick in not thus far mentioning the Kodiak Deathbeds self titled debut platter, it has been a recurring sweetie on our sound player since arriving in our gaff and judging on plays alone might well end up figuring fondly in our end of year polls, should we that is, deem to stoop so low as to actually cobble one together. But that, as they say, is another story for another day. More pressing matters – a new Kodiak Deathbeds single through affairs of the heart with pairs together a brace of cuts from that aforementioned debuting long player. ‘against the wind’ – admittedly has had our immediate attention each time its veered into earshot, hazel’d in Spring pastels dimpled in lightly tumbling cascades there’s a warming countrified lilt surrendering amid these grooves that teasingly sits on a porch yard fence somewhere between the Haight Ashbury and a far away lost in the moment Laura Cantrell with the Smoke Fairies watching on fondly from a distance. That said it’s the flip track ‘wild hearts’ that edges matters in the affection stakes, richly possessed of a lineage that echoes back to Patsy Cline, this lovelorn siren coos with a honey toned mellowness all cradled and caressed with the watchful craft of John Fahey ghosting upon its shoulder.
I’d like to think I’m among friends. And like friends we can talk frankly. I say this because Hurricane #1 kinda fell short of our radar during their blaze of glory in the 90’s, not a case of not liking them more so listening to other stuff, if I rightly recall they were more your Mark Goodier / Jo Wiley style play listing as opposed to Peel and Radcliffe, I won’t even dare mention the Mixing It schedules. Armed with that knowledge, or lack of it as the case might rightly be, we were a tad curious in receiving a copy of their forthcoming download only single – ‘think of the sunshine’. Prized from an incoming set ‘find what you love and let it kill you’ – their first in 16 years, it comes as a celebratory fanfare following lead singer Alex Lowe’s lengthy battle against cancer. Gathering together the band with a promise that they’ll be sounding bigger and better than ever with tour schedules currently marking out 2016’s calendar these chaps don’t kid do they. ‘think of the sunshine’ might seem like a strange choice for a single with a November release date but given the arrival – albeit three months late – of our own Summer presently and the confused nature of our weather systems of late, it just might prove weirdly apt. no pushing envelopes here, Lowe and Co draw and consolidate from past glories, not quite hurricane #1 by numbers but kissed and strolled with enough ear candy familiarity to draw the passing crowds whilst daubed in a sweetly fried vintage that oozes of a mellowing lazy eyed power pop purred artistry that crackles and fizzes with a love noted effervescence not to mention courting within its grooves a Cockney Rebel meets the Faces swagger. Out via tapete in case you’re taking notes, and you should be.
A much welcome return to these pages of Paperface, a most precocious talent who has previous peppered these missives and had us all a swoon on his occasional visits. A debut full length ‘out of time’ is currently doing the rounds somewhere and will in due course be put up on the inspection blocks once that is, we manage to lay our hands on a copy. ‘out of time’ is as apt a title as we’ve heard in recent times for paperface’s hand craft is teased and trimmed in a richly alluring artistry that sits far away from the usual pop pap. Sensitive, thoughtful, intricate and disarmingly expressive ‘Alison’ aches with quietly forlorn majesty, autumnal symphonics press upon it a crushed melancholic pastoral vintage unlike anything you’ll hear outside a platter inscribed with the names Robert Wyatt or Oddfellows Casino. A little less stressful on the emotions is the flip cut ‘other people’s lives’ a voyeuristic yarn sumptuously kissed as a ghostly conceived slice of atmos-noir spirited upon a teetering tapestry that balances itself somewhere between Lupen Crook and Jarvis Cocker albeit as though accompanied by the velvet toned mercurial melodic mysterios of John Barry. Out shortly via daydream records.
One of the depressing aspects of doing these musings is that every so often you stumble across something that you fear will sneak out into record world and quickly disappear without being given a chance, a listen or be marvelled at in a way it so richly deserves. Enter then Retoryka whose four track set ‘super maudlin’ EP has I don’t mind admitting, been making frequent trips back and forth to take up residency on our hi-fidelity player since arriving in our gaff. Described in passing by its author as ‘uneasy listening’ – an unfair summoning up that might well deter the inquisitive passing traffic and in truth couldn’t be further from the truth if it moved its postcode to the back of beyond. Chock full of sly nuggets the EP opens with ‘the pictures’ – a hulking gruff slice of wiring and fracturing mountain blues which on any given day could be viewed as some cleverly convened studio summit meeting playing host to a Bevis Frond face-off with Robyn Hitchcock. The sets sore thumb and hitherto poppiest moment comes courtesy of the bubble grooved ‘the great beauty’ – a cut armed and possessed with something of the coolly caressed swagger and swoon of Marc Bolan found here trimmed in all manner of 50’s teen traced glam grooved motifs. And then hidden and buried deep amid the grooves sits ‘super maudlin’ – comes on you like a rash building evermore wave after wave steadily building in urgency, tension and definition to sweep you along in its strangely ascending bitter sweet euphoria leaving the curtain closing ‘dark entertainment’ to exact and weave its darkly manifesting final bow in a most unravelling and sour tipped tear stained manner its shadowy withdrawal cued upon a fracturing psychosis that’s somewhat cued from the dark depths of Bowie’s Berlin days. Ultra limited physical copies – 50 only – ahead of its digital release available from everyday life recordings – http://everydayliferecordings.bigcartel.com/product/retoryka-super-maudlin-ep