Pearl Charles Magic Mirror

 

Magic Mirror is a 2021 release by the wonderful Pearl Charles, I've just discovered it, and I love it. Pearls music takes a definite 70’s aesthetic and contemporizes it to absolutely glorious effect, her compositions have a timeless quality to them without feeling dated. Pearls' voice is versatile, adapting flawlessly and with ease to the nature of the song she's performing. She has an adorable voice too, it’s captivating and always perfectly measured for the individual track. Which ever musical direction she takes, she nails it. This is a nice album. Nice being an undervalued term, accessible, engaging and always a pleasure to listen to, it's rare I don't listen to it twice through. Nice indeed. I love every track though for some reason I don't feel myself sticks out, lovely sound and feel to it. And behind her, a superb ensemble of clearly accomplished musicians, it's quite the line up too: Ryan Miller – drums, percussion; Connor "Catfish" Gallaher – guitar, pedal steel; Michael Rault – guitar, keyboards; Lewis Pesacov – guitar, keyboards; Max Mart – pedal steel, keyboards; Drew Erickson – keyboards; Mitchell Toshida – keyboards; Farmer Dave Scher – keyboards; Bradleah Mac – horns; Stewart Cole – horns; Matt Popieluch – banjo; Magic Mirror Quartet – strings and of course the wonderful Pearl Charles herself on lead vocals and percussion. There’s a lightness and ease to their combined performances as if the music simply flows through them effortlessly. Check Magic Mirror out here it bloody lovely.

Enter Xenon by Custard Flux

 

Detroits' renaissance man Gregory Curvey returns with his sixth serving of custard flux, the fantastic Enter Xenon. Custard Flux developed from a project of Luck of Eden Hall front man Gregory Curvey to restore a 100 year old harpsichord. From that restoration Helium was born, a solo album written and performed entirely by Curvey. Since then Custard Flux has developed and evolved, five albums later the sound has transmuted some and an ensemble has burgeoned: Nick Pruett on drums and percussion, Timothy Prettyman on bass guitar, Vito Greco on guitar, Andy Thompson on the mellotron, and Curvey on vocals, guitar, synthesizers mellotron, and tape Loops. Evidence if needed that mighty oaks from little acorns grow. Now, it's impossible to pigeon hole the Flux sound, beyond that it has Curvey running through it like Brighton through rock. There's so much going on.  Enter Xenon is a suite of unique and deftly arranged numbers which seamlessly blend progressive, psychedelic, pop, and rock flavours with a smidgen of je ne sais quoi. Enter Xenon is an exercise in musical alchemy. Pure magic. Playful sounding fast paced jangle psyche tracks juxtapose with prog-tastic flights of fantasy, there's noticeable space rock aesthetic running through the entire album too. Take The Oblivion Capsule, a wonderfully drifty space rock number with a spoonful of early 90's ambient psyche making it a blissful listen. As you'd expect from Curvey there's no filler, every track furthers your journey of aural exploration until you enter the The Floating Chamber. The pièce de résistance, The Floating Chamber is a progressive space rock opus which glides gracefully through a psychedelic expanse, pulling you in its' wake until you're slingshot into infinity. Smashing track. If I had one complaint it would that I'd have liked the titular Enter Xenon, a psychedelic synth number with an after rave chill out ambience, to be longer. As you'd imagine all the tracks are beautifully crafted, wondrously lyrical, performed to perfection with superb production, a testament to the calibre of the musicians, every instrument shines brightly, and together they've created magic. Custard Flux represents the gold standard of progressive psyche, and I doff my cap to another exceptional album. Check it out here, and whilst you're there be sure check out the back Custard Flux catalogue too.

Soft Hearted Scientists

 

There's nothing not to like about 'Waltz of the Weekend' by Soft Hearted Scientists, and so much to love. Originally released on CD in May 2023, Fruits de Mer records have recently re-released it on vinyl, and as you'd imagine it's really rather special. Soft Hearted Scientists are psychedelic beat combo out of Wales, a band of highly accomplished musicians and lyrical bards sui generis in their field. With a wonderful mid 60's musical aesthetic, the period when the mods met mushrooms and music took on a distinctly psychedelic flavour, the band create tracks which span genres and flavours. The scientists are Michael Bailey on bass; Paul Jones on guitars and backing vocals; Dylan Line on keyboards, electronics and sound effects; Nathan Hall on Lead and backing vocals, guitars, keyboards, electronics and sound effects; and Spencer Segelov and Frank Naughton on drums. And collectively they conjure magic.

A magic that transports the psychenaut into the unique psychedelic world of the Soft Hearted Scientists' to be regaled with weird, whimsical and wonderful musical tales. Musically high order, and lyrically peerless 'Waltz of the Weekend' is a psychedelic masterpiece, utterly original, a reflection of the Soft Hearted Scientists themselves. This is psychedelia done different. 'What Grows Inside The Garden' kicks off the album divinely, a dreamy pop psyche number with a happy and sunny disposition lifted higher by some lovely guitar and nice harmonies. Whilst the titular track 'Waltz of the Weekend' puts one in mind of music you'd imagine you'd hear on Summerisle, it's processional folkish hypnotic melody has you swaying along as if in a trance. The 'Sea Anemone Song' has a haunting quality to it, a quality which runs through the entire album, something intangible; 'The Things we make' with it's beautifully drifty otherworldly atmosphere has oodles of that vibe, it's a truly beautiful track, loveliest on the album. Side two begins with the quirky 'Rode my Bike' about a frustrated and ill fated cycle which with it's infectious melody is psyche-poptastic. 'Gadzooks' is more optimistic singing of hopes for better rides and days to come, an eloquent and defiant counterbalance to its predecessor. Next 'Who loves the Moon' exemplifies how Soft Hearted Scientists enchantingly blend jaunty upbeat melodies with wistful and melancholic lyrical themes. There's genius in their composition and writing, their adroit juxtaposition of dark themes with catchy melodies are always exquisitely executed. Take the 'Fixer', an upbeat tale of a righteous hitman, a mod revivalist sounding tune if ever there was. Then psyche pop takes a particularly dark turn in 'Vicious Vivian'. Finishing side three 'Creeper and the vines', a charmingly wistful warning of the joys and perils of alcohol has a jolly sing along feel to it.  The 'Venus Fly Trap Song', is a dark tale of defiance in the face of systemic injustice and eventual escape from it. As for the final track 'Lost Mariners', it's simply the bollocks. A bitter-sweet tale of oceanic adventure and loss, like the ocean it's a track with depth, a richly textured and sweeping sound-scape of guitars and synth accompanied by haunting vocals, with an eerie 70's sci-fi synth fade out. Unequivocally fabulous. Cap doffed.

That's where the album ends on the CD or digital versions, although if you buy the vinyl copy you've still a third disc of outstanding remixes to enjoy; 'Sea Anemones in the Benthic Abyss', 'The Garden of Wavering Fronds', 'My Bike Verses The Dandy Horse', and finally 'Waltz Through The Weekend' a glorious 16.42 min mix exploring the entire album, you also get a nice colour booklet of the lyrics.

There's not a moment on this album I don't love, I can't say enough good things about it. An album with genuine warmth, every note is performed to perfection, every musical t crossed and i dotted, absolutely faultless throughout, you can tell the love and attention poured into it. If you buy but one album this year, buy this one. Check the Soft Hearted Scientists on their bandcamp, everything they do is sublime, as is Nathan Hall and the Sinister Locals material. Or, if you're after the vinyl release of 'Waltz of the Weekend' go check out Fruits de Mer, purveyors of quality music.

Oh happy day

 

Have you ever had a much loved/listen to album that's either given up the ghost or disappeared? I'm sure you have, it's a bummer. Back in the mid 80's a friend did me a recording of an album someone had done him a recording of (as was the way of the times), proggy as f*ck, I loved it, and it became a regular listen. Over the years the tape, as tapes often do, degraded until it became unplayable. The cassette just had 'Gandalf' scribbled on it; I'd always thought Gandalf had been the name of a band, and searched for it as such, always coming up with either a 60's American psyche rock band or on later searches a Finnish death metal band; I'd also searched 'Gandalf' as album title, again no joy. Roll on the years, whilst yoga-ing this morning listening to 'Veterans of the psych wars' a favourite Youtube channel, my ears pricked, I looked up from downward dog and to my surprise saw 'Gandalf', another album but certainly drawn from the same well. My mistake was it turns out Gandalf wasn't the name of a band, nor of an album, but rather the pseudonym of Austrian musician/composer Heinz Strobl. Who'd have thought! Short of it is, I've found a much loved and thought lost album, along with a whole library by the same artist. Oh happy day.

People Under The Stairs ''O.S.T.''

Now, I'm by no means a 'hippity hop' aficionado, but I know what I like, and from the first time I heard People Under The Stairs I was immediately taken by the quality of Thes One and Double K's work. So when I heard there'd been a repressing of People Under The Stairs' 2002 release ''O.S.T.'' available, I had to snap a copy up. The album arrived this morning and moments later disk one was spinning; compared to mp3 the vinyl is a whole different listening experience, man, a far richer and more textured listen. Ostensibly a traditional straight up hip hop album, it's apparent simplicity belies the genius and beauty of it's meticulous crafting, keeping the sound of O.S.T simultaneously classic and fresh; employing the best samples, all masterfully woven, deepest laid back grooves, and the finest old skool breaks and beats, ''O.S.T.'' is just so good. I thoroughly recommend this enjoyable album; an album that's impossible not to move to; hip hop at it's most organic and purest. Perfect!

Ouzo Bazooka

Ouzo Bazooka return with their spanking new fifth album 'Dalya', and it's a real aural joy, two sides of solid tracks, all in the band's uniquely Middle Eastern flavoured psyche. As we've come to expect from Tel Aviv's premier psyche rock minstrels Ouzo Bazooka, Dalya is pure quality by every metric. There's a smorgasbord psyche infused flavours to enjoy, and more beyond, a smidge of prog, a sniff of pop, a hint of something jazzy, 'Monsters' perfectly paced hypnotic rhythm has an air of folk to it, whilst 'Million years of Light' and 'It's a Menace' have a nice electronica feel to them. If there's one thing Dalya has in oodles its an uplifting energy, I defy you not to find yourself nodding, swaying, foot tapping or in some way moving to the captivating beat of this album! Take 'Kruv', made to move to, cool eastern funkiness with a thread of lovely 60's aesthetic... great live I'd imagine. Dalya is a fabulous album. Consummate musicians one and all, Ouzo Bazooka are a tight sounding outfit with a rich sound exquisitely blending strands of psychedelic music with organic middle eastern influences to create something immensely listen-able and original, and they just get better. It's a lovely clean pressing too, fantastic sound quality, on a wonderful purple/black splatter on opaque clear vinyl, all beautifully packaged.  Everyone needs some Ouzo Bazooka in their music collection, check them out here or here, guaranteed not to disappoint.

The Locker Room Cowboys - Into the Silence

 

Not satisfied with one release this year with the Locker Room Cowboys outstanding  début album 'The Future Came and Stole Our Dreams', the west country's Bassist Supreme Andy Budge has already dropped the band's second album release 'Into the Silence'... and, it's something very different in theme and feel to the former. Well, beyond that, as with the bands previous album, there's a nice 80's flavour and aesthetic running through many of the tracks. Notes on Bandcamp tell us that 'Into the Silence' is inspired by Chomolungma (Everest/Goddess Mother of Mountains) 1921 - 1924, with spoken extracts taken from the diary and letters of George Mallory (Mallory was the only climber to be on all 3 British attempts 21' to 24', dying on the third in 1924), and yeah, what a wonderful suit of music. The whole album has a mellow laid back vibe to it, very atmospheric, lovely guitars, and throughout a cinematic quality to the music which perfectly convey the topics of the album and stimulates the mind's eye. Budge is joined again by John Garden, Icarus Peel and Charlie Bateson, accomplished musicians to a man, and, as you'd imagine, the composition, musicianship and delivery are all top draw. I'd love to see this synced with footage of the landscapes and events of the period, I reckon that would really work...koyaanisqatsi type thing. 'Into the Silence' is a fabulous album and I thoroughly recommend you check it out here.  I can't wait to hear in what direction the Locker Room Cowboys will venture next.

DDT Freshwater

 

DDT return with their second album release 'Freshwater', and what a corker it is too. DDT (Dieter, Duvall and Taibi) are a merging of members of Carlton Melton and White Manna, two exceptional bands in their own rights, though when combined...well, far out. Also on this release, the added talents of messrs Rich Millman and Nicholas Talvola.

Freshwater differs greatly from it's predecessor 'Enter the Bend', although as you'd imagine is equally engaging listening. The opening track 'divided attention' is a 60's acid soaked beauty, all shamanistic drums, spacey reverb and echo, then it's off at speed courtesy of some lovely tripped out spacerock psyche following the 'ley Lines'. The acid kicks back in as we meet the 'Stick figures', all jazzy tones and rich spacey textures melting into a psychedelic pool of eerie in 'always return', through which the hypnotic shamanistic drums are again 'unearthed'. Smashing! Side one is akin to the Carleton Melton gig experience, an aural journey, it flowed beautifully.  Side two has an all round heavier sound to it, opening to the distorted guitars and pounding rhythm of 'Set Alight', a nice heavy psyche sound, the tone is set. 'Crows Know', is a tasty slice spacerock psyche. Whilst 'Dynamo' is just that, an intense driving track. 'Marking the Clouds', offers a brief psyche jazz distraction before 'The Second Third' drops like heavy gravity, droning guitar and electronic textures conjuring the discordant ominousness of a 70's cult film soundtrack, which ends the album in reverberating distortion.  And....wow! What a fabulous album, man, absolutely marvellous from start to finish, DDT have created a wonderfully rich psychedelic gestalt from myriad psyche family facets. An album with more than a hint of 60's/70's psychedelic attitude, and plenty of heft to boot; all performed by exceptional musicians...what's not to love.  The whole package is a beautiful thing too, you can lose yourself in the stunning artwork on the outer sleeve, and the vinyl, what a cool coloured splatter, quality pressing as well. Part of the vinyl experience has always been the sleeves, a nod needs to go out to artists who keep that experience a rich one, from the photo above you see that the feast DDT serve is not just for the ears. Check it out on Bandcamp or at Drone Records.

The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys début album 'The Future Came and Stole Our Dreams' is released today, and it's a truly marvellous creation. I wrote a preview review back in December and everything I wrote then still stands as strong if not stronger after even more listens. If I have one thing to add, it's that time and additional listens have given me a greater respect for the albums lyrical qualities, masterful, man. Buy yourself a copy, it really stands as one of, if not the, best releases you'll hear this year.

The Locker Room Cowboys 'The Future Came and Stole Our Dreams'

The Locker Room Cowboys (TLRC#1 Budge, Curvey, Crystal Jacqueline, Peel & Reyes) appeared on Fruits de Mer's epic 'The Three Seasons' contributing a wonderful re-imagining of The Stones 'We Love You', then swiftly vanished. After that début appearance there were obviously calls for more, an album maybe? A couple of tantalizing short demo pieces followed, then earlier this year the release of their superb début single 'Always Love You' (TLRC#2 Bateson, Budge, Budge, Peel & Reyes). Now this band of musical troubadours, brainchild of West county's bassist supreme Andy Budge, returns with their début album 'The Future Came and Stole Our Dreams' and, man, it's really something rather special. The Band's line up has been augmented for this outing, Budge is quick to emphasize a collective effort drives the band, and what a collective it is: Charlie Bateson (Steepways); Andy Budge (Cary Grace Band, Icarus Peels Acid Reign, Steepways); Evie Budge; John Garden (Scissor Sisters, Alison Moyet, Cary Grace Band); Crystal Jacqueline (Crystal Jacqueline, Honey Pot); Icarus Peel (Honey Pot, Acid Reign) and Victoria Reyes (Honey Pot, Steepways, Cary Grace Band), a stellar line up I'm sure you'd agree. I've had the privilege to give the album a listen(s), and straight off I've got to say, kudos y'all. The 'Future Came and Stole Our Dreams' (inspired title) is a fancy box of aural chocolates made up of some of our favourite centers, of course, if they were chocolate we'd swiftly become Mr Creosote, moreish doesn't do these tracks justice. An interesting mix of influences and styles has created twelve innovative, beautifully crafted, lyrically fluent and sumptuously rendered tracks, every one written and performed faultlessly, with elegant arrangement and production throughout.

The album opens with 'Procession' a short and sober new-wave electronic flavoured track, a stripped down drum and guitar introduction that gets your attention. The mood quickly changes with Oklahoma '33, a slice of the soft 80's tasting electronica/pop that characterized soundtracks of the period, many of the tracks on this album have cinematic qualities to them, it's masterfully crafted with wonderful guitar and appealing backing vocals. That 80's electronica vibe's also present though morphed in the doleful 'Most of you', a moody synth and keys driven number, where the earnestness to Bateson's voice works brilliantly in conjuring the quintessential atmosphere of melancholic indie/electronica. Though I feel the strongest influence running through the core of 'The Future Came and Stole Our Dreams' is a sweet blend of soulful rock, blues rock, and Americana. 'Deep Water' craftily straddles genres, sci-fi electronica bookends a solidly laid back blues rock number with splendid guitar from a Garden and Peel combo, and again lovely backing vocals from Crystal Jacqueline, who appears on several tracks; always a joy to hear.  Then you've got the jaunty upbeat soulful rock flavours of 'Laurel Canyon Comedown', so catchy you're guaranteed to snag your jumper on it, a proper handsome number. Many tracks benefit from Peels capital vocals, which in my opinion have a somewhat Roger Waters-esqueness quality at times. You'll be loving the guitar flavours throughout, each appropriate to the individual track, all impressively delivered and gloriously rich. The whole album has a tremendous richness to it's sound. Half way through the album the unmistakable golden age Floyd-ness of 'Big Yellow Circle' showcases the manifest guitar talents of Icarus Peel, which with perfect slow motion rhythm by Budge and some truly gorgeous keys from Garden create a particularly arresting piece; John Garden's contributions shine across the album (doffing cap). Both single tracks 'Always Love You' and 'Revolutions' are included on the album, slipping in effortlessly with their siblings.  'Always Love You', is a winsome stripped back 60's folk rock-esque number, soothing jangly guitar accompanies Peel's soulful vocals and some lovely backing vocals provided by Bateson and Evie Budge, it's a divine lazy sunny afternoon of a song. 'Revolutions' is a beautifully paced number, Bateson's vocals again compliment the composition and arrangement marvellously, and Victoria Reyes piano is especially delightful. The judicious use of the vocalists is inspired. Awareness of my spiralling word count cows me from enthusing more about every track on the album, so;  be it 'Bordertown's blissful funky bourbon sipping soul, or the emotion loaded 'I'm sure I will', or  the perky strutting of 'Let Me Tell You' drifting into ambiance, all are incredible! In the artisanship of 'The Future Came and Stole Our Dreams' no detail has been overlooked, there's no dead wood or filler, no tracks to skip, every track plays it's part in the album's journey. Until it's 'Goodnight and Goodbye', the perfect final track, a mournful slow rhythm fades the album out with outstanding lead vocals from Peel complimented by outstanding backing vocals from Bateson, pure magic.

What a truly phenomenal début album, that's not hyperbole either, there's definitely something special here. There's nothing not like and so much to love about this multifaceted album, most of all though, you'll love it's originality, Budge et al. have taken contrasting strands and woven something with timeless appeal, it's fantastic. You're immediately invested, drawn in by it's beautiful pace, it's genuinely satisfying listening, packed with catchy tunes, it's got depth enough to immerse yourself, or if circumstances dictate, enjoy in the background, and it's really great listening when driving. The Locker Room Cowboys 'The Future Came and Stole Our Dreams' is ideal for any listening situation, the mark of good music with broad appeal, and it just gets better listening each time. Enough, my clumsy writing doesn't do the magnificence of this album justice, you'll have to hear it for yourself. Budge emphasizes the album's collective nature, and that's clearly evident throughout, though I think he deserves a mention, his prints are on every track, in the writing as well as the music, he also plays an astounding array of instruments across the 12 tracks, obviously proficient on all, and this is his first time arranging, mixing and producing; remember, all this from a bass player! Big up maestro, and again, kudos y'all...honestly impressive. My privilege extended to hearing 4 tracks not on the album, yeah that's right, all sensational. 'The Future Came and Stole Our Dreams' will be released shortly, so keep an eye on The Locker Room Cowboys Bandcamp page, there's also hints of future live performances, which would be most excellent. Be assured, no fear of buyers remorse with this release, guaranteed! 

Magic Bus, The Earth Years

All aboard! Devon's psychedelic dreamers Magic Bus have pulled into town bringing with them a brand new collection of their distinctively joyful psychotropic tunage. Continuing their unbroken run of excellence Magic Bus's brand spanking new release 'The Earth Years' is a wonderful tonic in these dire times; place the needle on the record and the dark clouds part, the sun shines through, and that's all in the front room of your mind! Apt really, as their splendid 'The Road to La Mezquita' (my favourite track, I love that 70's funky strut) talks of indoor travelling. It's been three years since the Totnes troubadours released an album (too long...boo!) in which time they've gone from strength to strength, recently touring with the fabulous Chris Robinson Band. I maybe sense subtle CRB influence on tracks like 'New Day', though for the most part the band have built on, and further developed, their own inimitable brand of lovely sun drenched progtastic psychedelia. The Magic Bus sound encapsulates and blends the best of the decade between 65' and 75' from both sides of the pond (though I'd say this side weighted), with all the chaff removed and well informed by the subsequent decades, these West country wizards consistently create aural magic which keeps an ember of the summer of love alive and carries it forward. Front man Paul Evens has a wonderful voice, so evocative of the 70's Canterbury scene, and Jay Darlington's delightful organ reinforces that 70's British vibe magnificently, echoes of Canterbury's finest 'Audience' pepper the album, I think that's also due, in part, to Terrance Waldstradt's stellar guitar; 'Squirrel' puts me in mind of that Canterbury scene sound, a wisp of Nektar flavoured prog too. You'll also hear the influence of cultural legends Gong on tracks like 'Barleycorn', well, you would though wouldn't you, the band all have long hair, and some even have beards! Don't misunderstand me, Magic Bus sound like Magic Bus, and for what they've sipped from the prog/psyche well, they've renewed, replenished and expanded that well's elixir ten fold with their offerings. Mention must also be given to the Stirling contributions of Connor Spring's perfectly pitched drumming, and the laid back bad-ass bass of Wihll Mellorz, whose work in the engine room ensures every track has oodles of groovy rhythm. Like all Magic Bus albums 'The Earth Years' is beautifully paced, a lovely journey to take, conjuring a feeling of Mmmmm throughout.  The album ends with the sublime 60's infused  'We are one', a wrapped in a blanket watching the sunset kind of a song, which has the uplifting lyric 'hope is coming', love 'em.....fecking hippies. This is the bands first release without the heavenly flute and backing vocals of Viv Goodwin, that, I miss; you know what it's like when a band you dig has a line up change. That aside, there's absolutely nothing not to like; no, not to love about this album. It's a beautiful thing in itself too, a nice heavy weight clean cut vinyl, packaged in a sturdy gate-fold sleeve, with the most gorgeous artwork by Martin Ross Butler, lovely colours, man. No, hang on! There is one thing not to like...it's not long enough, I usually have to play it through twice so more-ish is it. That's four top-drawer albums in a succession from Magic Bus. Bravo y'all! Check it out. Shit, check them all out! And, if you dig what you hear and really what to experience the pure joy of Magic Bus, when the 'Rona's' passed make sure to catch them perform live...deep joy!

Oxygen by Custard Flux

Psychedelic multi-instrumentalist, artist and The Luck of Eden Hall's front man Gregory Curvey continues his current run of excellence with his project Custard Flux's sensational third outing, the up coming release of Oxygen. Custurd Flux was born when Curvey, a genuine renaissance man, acquired a dilapidated 100 year old Harmonium, restored it and created the marvellous 'Helium' (review), the acoustic solo genesis of the Custard Flux sound. Subsequently there was 'Echo' (review), the evolved and augmented sound of Custard Flux. Both acclaimed albums were immediate runaway successes, with pressings quickly being snapped up. And why wouldn't they, both are gloriously unique aural explorations in psychedelia. Oxygen's a further evolution of the already well established Custard Flux sound, another delightful blend of acoustic/electric instrumentations. Like it's siblings Oxygen shares the fundamental Custard Flux DNA, though again being the consummate psychedelic alchemist with the magpies eye, Curvey's masterfully spliced new elements into it, further augmenting, mutating and evolving it. This is psychedelic music at it's best, it's scope doesn't merely span that genre though, it's extends way further into other genres, creating something truly original and unique. Nothing sounds like Custard Flux, man, nothing.

The crew manifest for this outing of the starship Custard Flux is also evolved. We see the return of the Prettyman brothers, Timothy on double bass and Walt on violin (if you happen to read this Walt, particularly loving your offerings, man), who both contributed so wonderfully to the evolution in sound of Echo, continue their integral contributions to Custard's Flux.  There's also the addition of the cracking guitar(s) of Vito Greco, another musician you'd have heard previously giving wicked performances on Curvey's projects. Finally, there's a fabulous special guest contribution by Psychedelic Furs saxophonist Mars Williams on the titular track, which takes the Custard Flux sound into a wondrously unexpected direction.  As for everything else, and it's a lengthy list, that's Gregory Curvey himself, guitar, vocals, harmonium, harpsichord (really loving that sound by the way), bass, piano, drums and oddities (Curvey's description). A fabulous ensemble of accomplished musicians, I'm sure you'd agree. 

Oxygen's an apt moniker for this outing, its addition making the Custard Flux star burn even brighter. From the eponymous opening track you're instantly aware that the Custard Flux has developed and grown, at moments its bigger sound creates natural allusions to The Luck Of Eden Hall's sound swimming amongst the bubbling stream of Custard Flux. Mind you, that's certainly no criticism or complaint, and it's wholly understandable and natural too. Gregory Curvey's style and aesthetic, and particularly his vocal delivery are unique and instantly recognizable. As you'd imagine from Curvey the attention to detail in the arrangements and production of each and every track are incredible and exquisite, every instrument is deployed, it's qualities exploited, to masterful effect. As for his lyrics they're usually poetic, often pertinent, unequivocally eloquent, and always a genuine pleasure to mull over. Bravo, sir, and kudos to all involved, you've collectively created something magnificent. You should check out Shane Swank's groovy video for Quaratyne off Oxygen, which exemplifies the Custard Flux aesthetic. 

Oxygen's the tastiest serving of Custard Flux so far, perfectly seasoned, it goes down a treat. If you've liked previous Custard Flux releases you'll be loving this, man.  If you've not heard the band before, though you dig original explorations in psychedelia, then, man, I know you're going to dig this and be clambering for copies of the previous releases too. Check it out, it's available in two fabulous multi coloured vinyl pressings or as a digital download. Be quick though if you looking to grab yourself a vinyl copy, only available to pre-order from yesterday (for release date 3rd July) Oxygen is already selling like hot cakes! 

Cary Grace 'Covers Vol 1'

We arrived hope from our morning walk to find a delivery. Oh, happy day.  It was my copy of Cary Grace's fabulous 'Covers Vol.1'. I'd missed the initial release and due to licensing laws the tracks weren't available as a download or to listen to, other than the tracks I'd heard Cary perform live I could  only imagine what they sounded like. Now, I thought I had a good imagination, though clearly not, as Cary's interpretations of some hefty classics by the likes of Dylan and the Stones easily exceeded my already high expectations. I imagine covering other artists work must be trepidatious, so undertaking a whole album of covers must take bravery (more so than Ulysses maybe), though Cary appears to have taken it in her stride. The interpretations go well beyond simple covers, Cary's taken some well established and much loved classics and imbued them with that Cary Grace magic, and the results speak for themselves, she's made each track her own. What an excellent album, throughout the quality and production values are consistently superb, kudos must go to Cary et al for their always immutable high calibre performances. It's impossible for me to single out one track as a favourite, which ever one I'm listening to at any moment is my favourite. That said, the Bowie covers are really quite sublime, especially 'Queen Bitch' with it's dope New York proto punk aesthetic, but then there's the divine 'Black Country Rock', and hey, both Floyd tracks are truly something else.....see what I mean, impossible to choose. Being a multidiscipline artist Cary's attention to detail is immaculate, the CD, inner and sleeve all nicely mimicking a vinyl album, the lovely touch of a hand written thank you, all beautifully packaged in white and black tissue and housed in a tidy black cardboard box, with a hand drawn spaceship on the front. Pure class, man, and a pleasure in itself, even before you hear the music. I reckon these'll sell out quick, they did the first time! So don't hang about. Go here, buy one.          

Vinyl release of Echo by Custard Flux

We returned from our walk this morning to find the posty had delivered treasures in the form of Custard Flux's vinyl release of Echo and bonus CD, and what groovy things. Musically, it's quality assured, that's Curvey's modus operandi, my review of this wonderful album is here, and my review of the equally lovely accompanying CD of bonus material is here. As for the physical product, ditto, quality assured, I went for the beautiful multi coloured version, it's a nice clean pressing, housed in a high grade sleeve. It's a real nice thing. If you haven't already, you really must check out Echo, and Echo's equally fantastic predecessor 'Helium', both are glorious listens.        

Custard Flux 'Echo' vinyl release............the bonus CD

With his upcoming release, that respected ambassador of psychedelia Gregory Curvey is really spoiling us. Custard Flux's fabulous 2019 second album 'Echo' is due out on quality raspberry vinyl in April, and as if that wasn't cool enough, with it comes a 6 track bonus CD of new material. I've been lucky enough to hear said CD, and well, Gregory continues to set a high bar for himself, the new material is fabulous! To my ear there's a subtle difference in the sound, some feel stripped down a bit maybe.  Curvey's guitar lends a late 60's flavour to a couple of the tracks, a Laural Canyon-ness, if you will, giving them a psyche folk air and a nice natural feel. Whilst his guitar on 'Indian Ocean Road' takes you soaring on the thermals created where the land meets the sea; the involvement of harmonium and harpsichord really adds a certain je ne sais quoi to the tracks. It's nice to hear Timothy Prettyman return on double bass too.  You can give 'Indian Ocean Road' a listen here, it's a lovely track. They're all lovely tracks, all individual, all flying off on different psychedelic vectors, though all audibly originating in the creative flux of Curvey's Custard cauldron. And, ere, come in a bit closer to the screen...if you're digging the Custurd Flux you've heard to date, word is there'll be a third Custard Flux album 'Oxygen', arriving, maybe, maybe by the end of the year. As I said, we're being spoilt. If you haven't already, check out Echo here (and Echo's equally fantastic predecessor 'Helium'). They're wonderful albums... your ears will thank you.

Cary Grace 'Lady of Turquoise'

Cary Grace (and band) continues to soar, excelling herself (themselves) with the band's latest release, Cary Grace 'Lady of Turquoise', which was released at the end of January in Delux Edition 2x Glass mastered CD's in a mini LP replica  gatefold sleeve or digital download formats. Cary dropped a track a day through the beginning of December to wet our appetites and, man, what an absolutely phenomenal album, thoroughly engaging throughout. Over recent years I've been lucky enough to discover a few artists whose work I love, Cary's one of them; original, innovative and imaginative, she consistently delivers beautifully crafted music, and what she creates is always of the highest standard and quality... be that on single, album or if you really want to experience the full magic, then live, where her performances, and those of the incredible Cary Grace Band, are always mesmerizing. Lady of Turquoise continues in an already well established mould of excellence, although Cary doesn’t rest on her laurels, always looking for opportunities to evolve her sound and raise the bar, and she's certainly achieved that on this release.

Lady of Turquoise is an astonishing album, there's nothing not to like about it, nothing! It's engaging from beginning to end, never dull, no filler, all the tracks show real care and attention paid to their detail, all individual, though all flowing wonderfully to create a cogent whole. Cary's stunning image as Egyptian Goddess Hathor sets the tone, and opening track 'Khepera at the Dawn' perfectly sets atmosphere, together transporting you to the dusty world of a hundred temples rising through the morning haze. That theme is enhanced by Cary's vocal delivery on tracks like 'Letterbox' which conjures ritual invocation, nice acoustic guitar on that one too. A striking feature of Cary's work is her wonderful voice, distinctive and quite quite captivating, and Cary uses her voice to full effect on this album, sometimes sensual, sometimes sombre, sometimes palpably magical, and always powerful and perfectly suited to the narrative and the tracks aesthetic. Like a sirens song Cary's voice draws you into her lyrically eloquent numbers. On 'Afterglow', a gorgeous spoken word number which builds magnificently, at times there's a sort of Patti Smith quality to Cary's delivery, which is cool. When joined by Victoria Reyes on backing vocals on the fantastic 'Without a Trace' it's pure aural bliss, their voices are a perfect combination, creating lovely harmonies, great track. The aesthetic of each track is different, though all 13 remain thematic in feel, many have a sumptuous progressive rock aesthetic woven into their distinctly psychedelic fabric, others elements of folk, rock or pop. Another musical alchemist, Cary has gathered all manner of disparate elements and subtle influences to create something of her own, something emphatically Cary Grace. Cary's not just a talented singer/writer though, no, her talents extend way beyond that, a wizard on synthesizer (her resplendent synth on Lady of Turquoise is testament to that), a multi-instrumentalist who plays all sorts on this album, and on top of that she's an analogue synthesizer builder, artist and crafter of quality.

Cary's gathered a stellar ensemble of musicians together for Lady of Turquoise, there are of course the Cary Grace Band regulars: John Garden, a most excellent guitar player who shows his manifest skills on guitar across the album. I really couldn't single out one particular track on which John shines, because he's refulgent throughout, as well as providing some tidy synth on a couple tracks and even drums on 'Letterbox'. Although, drums are really the domain of David Payne, whether slow tempo or belting it out, David's drumming is the dogs, clean, powerful, consistent, and always right on the money...the engine of the band. Who together with rhythm supremo Andy Budge, one of the psychedelic scenes premier, and much in demand, bass practitioners on bass, provide the solidest of rhythmic foundations for the duration, and they do it in style and verve... a dream team. And, of course, the superb multi-instrumentalist Victoria Reyes on keyboard, organ, and not forgetting wonderful backing vocals on 'Without a Trace'. As if that wasn't enough, the band are joined by a host of prodigious guest artists. You've legendary guitarist Steffe Sharpstrings (Here and Now, Sentient, Gong) who's unmistakable sound shines on 'Khepera at the Dawn', 'Film Noir' and 'Castle of Dreams', there's something blissful to Steffe's peerless ethereal guitar sound, and his distinct talents are employed to glorious affect here. A real treat is 'Castle of Dreams' where you've got Steffe and John together, magnificent, man. Then on 'Without a Trace' and 'Sacrifice' musician, composer and producer Steve Everitt (Eat Static) is enlisted for guitar duty, and is none too shabby, with some particularly nice rock guitar on 'Sacrifice', a track with a nice heavier yet laid back groove to it. Whilst Gong's saxophonist Ian East lays down some wonderfully mournful sax on 'Film Noir', a favourite track of mine, with a brooding theatrical atmosphere to it, which I thought evocative of the 1980 movie Breaking Glass soundtrack. Then you've got Andy Bole (another renowned multi-instrumentalist) who brings a flavour of eastern Mediterranean exotic to 'Costume Jewellery' on the laouto and bouzouki, a track with something of a Doors/Floyd flavour to it, a wonderfully expansive sounding number with 60's/70's sensibilities, an epic track full of drama which builds impressively before a long spacey synth fade out...nice! Also on 'Costume Jewellery' another legend, Graham Clark, brings his extraordinary violin skills to mix and does an absolutely exceptional job, lending a sort of urgency through them, as well as playing guitar on a number of tracks, including the instrumental 'The Land of Two Fields', a short number with a solidly 70's progtastic synth flavour which acts as an tasty entrée, feeding seamlessly into the final and titular track. Lady of Turquoise completes the album on an up beat euphoric note, an energetic synth driven pop psyche joy, with a faint echo of vintage era Hawkwind. Outstanding eh, man! Cary's raised the bar high with this one, what an absolutely sensational album, stunning in every aspect, thoroughly listenable... again and again. An epic album through which Cary's flexed her impressive progressive muscles, and so much more, Lady of Turquoise is a triumph.  There's depth and drama in every one of the 13 faultless tracks, all beautifully crafted and perfectly executed by a decet of accomplished musicians, who’ve ensured every facet of this album is flawless, a glistening gem. The result is an hour and a half of aural rapture, a sublime release. Bravo y'all, and big up Cary, and big up the Cary Grace massive. I'm certain Hathor, being a Goddess of music and dance, would approve. I'd recommend you do yourself a favour and check it out here (whilst your there check out her back catalogue, it's a gold mine)... satisfaction guaranteed. Guaranteed I say!

DDT 'Enter the Bend'

Cor blimey! This is really good, man. The fruit of a mind meld between members of psychedelic big hitters Carlton Melton and White Manna, 'Enter The Bend' by DDT (Dieter, Duvall and Taibi) is bloody marvellous! Enter the Bend is all rich organic flavours, heavy with psychedelic drones, deeply hypnotic shamanic trancey rhythms, with myriad streams of trippiness intricately woven  throughout, earthy as f*ck too. Enter the Bend picks you up and carries you off, time dissipates as you immerse yourself in the aural world DDT have crafted for our listening pleasure, the musicianship of all involved is, of course, top shelf. And, when the needle finally runs out of groove, you're left wanting more. I played it through four times in a row on receipt, and with each play I was drawn in further. It's a meditation, man. It's a quality pressing too, the vinyl comes in either a groovy splatter of ‘Multiple Greens’ (named after one of the tracks on the album) or classic black, all packaged in a sturdy sleeve and with a colour insert. Enter the Bend is surely one of the best releases of the year, check it out, it doesn't disappoint. This is the good shit, and no mistake!

Delivery from Fruits de Mer Records.

This morning the posty delivered a much anticipated haul of goodies from the most excellent Fruits de Mer Records.  A package from Fruits de Mer Records is always something to please your ears, warm your heart and send your spirit soaring.  Oh Happy day!

Echo by Custard Flux

Psychedelic maestro Gregory Curvey returns with a second helping of gorgeous Custard Flux in form of 'Echo'. If you don't know who Gregory Curvey is, he's the multi-talented musician, artist, artisan, front man and driving force behind one of the psychedelic genre's leading bands, The Luck of Eden Hall. Custard Flux is a solo project of his based around a dilapidated harmonium he discovered and restored. Helium was the first serving of psychedelic Custard Flux, rich and musically tasty it was too, then there was an bonus spoonful with the general release of  the 'extras',  which had been included in the sumptuous Deluxe Helium Box Set (now sold out).

I love Helium, it's a brilliant album standing head and shoulders above the crowd, easily the best release of 2018 (and soon to be available as a double vinyl release). Could Curvey equal that brilliance? Of course he could, and as always, he's excelled himself. Echo's been conceived in that same bubbling custard cauldron, and its time simmering has allowed it to develop even richer deeper flavours. From the opening track, the wonderfully energetic 'Supernatural', Echo has you captivated and you'll dance to its tune, it's stunning album. If you're expecting Helium 2 then you're in for a surprise, Echo may share Helium's DNA, though an evolved, expanded and mutated version of it. Curvey's crafted another genuinely unique sounding album, and a worthy companion for Helium. Again, it's an acoustic album (beyond a brief foray with an electric guitar) with Gregory playing piano, harmonium, guitars, auto-harp, mouth-harp and drums, he's also written all the music and lyrics (other than one track co-written with Tim Ferguson) as well as delivering his instantly recognizable vocals...and I bet he mixed and produced it too. Amazing. Interestingly, this time around he's added a couple of new ingredients in Timothy Prettyman's double bass and Walt Prettyman's violin. I have to say, genius additions. The new instruments are immediately noticeable, Timothy Prettyman's terrific double basses richer more earthy bass tones add depth to the rhythm section, and good violin simply lifts music to a higher ethereal level, and Walt Prettyman's sensational violin playing does that in spades. I think Walt Prettyman's violin transforms the Custard Flux sound, in him Curvey found a philosopher's stone.

Gregory's a proficient and musically eloquent multi-instrumentalist, with a distinct guitar and vocal style.  He has an ear for detail, and is a tonal alchemist with a magpie's eye, who sips from myriad springs of inspiration. He takes disparate ingredients and creates aural magic, always something original, although something with that indubitable Curvey watermark running through it, and always something marvellously psychedelic. With Echo, Curvey has taken Custard Flux to new heights, serving up a heavenly cordon bleu feast of psychedelia, with a healthy helping of progressive accoutrements all liberally topped with tasty pop croutons. Très magnifique! Like any good feast it's how the flavours complement each other, which were chosen and how they were blended that makes all the difference. At this too, Curvey is king. A hint of mid 60's London and a smidgen of later 60's west coast ('Pink Indians' has a glorious Zappa-esque feel), a generous pinch of 70's atmosphere and just a wisp of the 80's, all add piquancy. Each track has an individual character, and to some there's a certain cinematic feel, like they'd work in a soundtrack or make a good video.  A favourite of mine 'Gold' is a track you could imagine making a great a video, the lyrics evoke such strong imagery. Evocative lyrics is another of Gregory's manifest skills, a proper bard, he's able to deliver emotionally resonant lyrics as in 'Cirque d’Enfant', an enchanting track, really lovely (and the track with the electric guitar), and he's equally at home lampooning too, take 'America', a wry look at the reality of the American dream, beautifully observed, relevant and essential, as if people don't point, nobody looks. From start to finish Echo enthrals you, taking you on a astounding aural journey, and as the final track 'Suns and Daughters' (which leaves you feeling warm and uplifted) fades you're left wanting more. As is consistent with Gregory's work there's no filler, man, every note counts, the detail, the wonderful melodies, and the fabulous flourishes, all beautifully composed and elegantly performed to perfection. Echo represents the finest in contemporary psychedelic music, no, really Custard Flux's Echo  transcends genre labels, put simply... it's bloody good music. I doff my cap to you sir!

Echo is an album you'll want to have in your collection. It's available now through bandcamp as a digital download or on CD, with a vinyl release later in the year. Go on, spoil yourself, buy this album!

Fruit de Mer Records The 16th Dream of Dr Sardonicus Festival of Psychedelic live double album

 (photos Fruit de Mer Records)

We're currently blessed with a good field of top draw independent record labels releasing treat after treat to tickle our fancy and furnish our aural requirements. Though in my opinion Fruits de Mer Records represents a label which is a cut above the rest. The labels releases are always not just of the highest quality, both musically and production, they're something more, something special, unique artists, whether performing their own works or innovative interpretations they're always original and often sublime sounding. There's not been a thing I've heard I've not enjoyed, and many I've absolutely loved; for the new music I've been introduced to through FdM I'm continually grateful, bands such as The Luck of Eden Hall or the Soft Hearted Scientists, man, I could go on and on, honestly the list is endless. Oh for bottomless pockets. Anyway. Each year the label organizes a few all dayers and small festivals, by all accounts every one a fabulous event. Fruits de Mer also appear to excel at curating and creating outstanding compilation albums (it was through some of their compilation CD's in a friends car that I first got turned on to the label). Fruit de Mer Records The 16th Dream of Dr Sardonicus Festival of Psychedelic is a live double album on lovely clear blue vinyl which highlights their creative genius at both compilations and events. What a beautiful aural journey, man, with bands, several I'd heard of, several I hadn't, all giving great performances, an eclectic mix which flows seamlessly with absolutely no filler. I say eclectic as all the acts bring something different in style and sound, though all sympathetic and supporting of each other and the albums psychedelic ambiance, carrying you blissfully along on a stream of glorious flavoured psychedelia. Side one kicks of with two tracks from the wonderfully folky Elfin Bow with Elizabeth Anne Jones gentle enchanting vocals (check out Elfin Bow's lovely FdM single release, bliss), one track a subtly stunning Denny cover, the other a charming self penned number with traditional DNA; and side four finishes off with the raucous saxaphonic sounds of legendary space rocker Nik Turner's New Space Ritual.  I said it was a journey, man. It's a journey along a road paved in gold too, favourites like Stay, Consterdine and Sendelica, as well as (new to me), I am Voyager one, Fellowship of Hallucinatory Voyagers, The Alain Pire Experience and The Fertility Cult, all showcasing what they can do live...and it's quality throughout. My only problem...more bands for my list of bands to look out for, oh but what a problem to have, ay. Every track on this album is a real gem, a fantastic reminder for those lucky enough to have been at the festival, of what sounds like a great event, and a fabulous advertisement for the joy which is Fruits de Mer Records. As with previous FdM releases the quality is assured, the recordings are solid, the clear blue vinyl is a lovely pressing, and the sleeves are quality too (and interesting), man, the package as a whole is class. Sadly this release is currently sold out (it showed 'last few copies' when I started this post, it may be available through other stockists...maybe?), though check out the Fruit de Mer Records site you wont be disappointed, there are many more treasures to be discovered there, and get on their mailing list to avoid future disappointment, their July releases look terrific! Thank you Fruits de Mer.