Levellers - Southampton Guildhall

 

This evening watching the levellers it's apparent that their edge has not been dulled by the years, they remain as sharp and committed as ever they've been. Some 40 years in the music industry have not swayed their ethics, their stance, nor the grind of modernity diminished their energy. In 40 years they've amassed a  library of notable albums packed with consistently solid tracks, each relevant to its' time. They’re a band that clearly care about their music, consummate performers never failing to deliver the audience a memorable evening of well honed artistry.  Tonight they kept that commitment to excellence with a stunning performance. It’s been 30 years since the release of Zeitgeist, an album containing some of their best loved tracks, tonights' set incorporated the entire album, plus a smattering a fan favourites from across the bands' expansive repertoire. A wonderful evening was had by all; the band appeared to be having fun, the audience certainly were. Great show, great sound, a great evening all round. 

Grace Petrie - Southampton Guildhall

This evening we found ourselves in Southampton, off to see the mighty Levellers. Their support, folky-protrest-rock type Grace Petrie. I hadn’t heard of Grace before this evening, although what I heard tonight I really enjoyed. She had to feel of an upgraded Billy Bragg, better vocally and lyrically; Grace has presence and warmth too. Her songs have energy, and powerful lyrics in the tradition of protest folk though brought modern. She appears at ease on stage, natural, and a sense of humour too, so easily lost in modernity. Grace engaged and involved the audience, it was a lovely experience. She said her job was to warm up the crowd for the levellers, and she did just that, and did it with gusto. If you get an opportunity to see her, take it.

Wise words

Simple lyrics, two lines, stoic in tone. 

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.

Electric Crayon Set - Laughing in the Clouds

 

Upon receiving my last package from Fruits de Mer Records I discovered an additional album with an accompanying card reading 'It's a windfall! A complimentary record from Fruits de Mer Records, just because we're in a good mood...and we found a few spare copies down the back of the sofa', how cool, eh, and much appreciated. I'd never heard of Finnish psyche pop combo Electric Crayon Set; I have now and they're bloody good. Electric Crayon Set are Seppo Tyni on bass, guitars, synth and keys, Timo Lilja on drum and precussion, and Timo Paakko vocals, guitars, synth and keys; with additional guitar from Juha Kormano, harpsicord from Pekka Tyni, vocals from Vilma Paakko and backing vocals from Katariina and Veera Lohiniva. 'Laughing in the Clouds' is a wonderfully upbeat romp through the world of psychedelic and progressive music, and although Finnish there's a real Britishness to their sound, specifically 70s/80's progressive pop psyche with a side helping of Mod aesthetic. Electric Crayon Set have added their own contemporary spin on the familiar to create a original take and sound on a favourite genre; each track is an aural joy, it's a lovely album, thoroughly listen-able. A stand out track for me is 'Calling on the cards', especially loving the vibe and production on that one; beautiful vocals by Vilma Paakko, first class. I wholeheartedly recommend this album, and a band to keep your eye on.

'Laughing in the Clouds' by the Electric Crayon Set is available on Psychotron Records; if this is the calibre of their releases, a label to watch.

Phospurous by Custard Flux

 

A 4th serving of Custard Flux, Phosphorus, was dished up in the Autumn of 2022, with the vinyl release in August 2023. I recently availed myself of a copy and wasn't disappointed. Best known for being the driving force behind The Luck Of Eden Hall and his countless contributions on other musical projects Gregory Curvey is an accomplished multi instrumentalist, composer, artist and artisan, Detroits' very own renaissance man. Custard Flux is his evolving project based around a harmonium he restored, and with 3 albums already under his belt the distinctive sound of Custard Flux is developing nicely.

 

There's been little change to the line up in the band since 2020's 'Oxygen', beyond the departure of Walt Prettymans' violin and the addition of the flute and backing vocals of progressive space rocker Jay Tausing the band remains the same. The fantastic talent of Vito Greco on guitars, including some particularly nice Portuguese guitar; the return of Timothy Prettymans' excellent double bass; legendary saxophonist Mars Williams brings a proggy jazz atheistic, with echoes of Gong-est atmospheres at moments; and drums, percussion, piano, harmonium, harpsichord, auto-harp, and of course dazzling guitar and distinct vocals delivered by Curvey himself. 

 

Always setting the bar high Curvey consistently surpasses it, and he's done it again with 'Phosphorus'. As you'd imagine Phosphorous shares core DNA with it's predecessors, though again further evolved and augmented. As with previous Custard Flux releases there's plenty to enjoy. Laden with inventive genre spanning compositions where progressive rock dances with cerebral psyche along to pop beats, arrangements with a classical air which give them a certain gravitas, and always tracks that you feel could surprise you at any moment, and often do, Phosphorous is an aural feast. Curvey has a unique style and sound, lover of complex melodies and wonderful riffs, always lyrically interesting, his distinctive and inimitable creative style runs through his work like Brighton through rock, and Phosphorous is no different.  This is another fabulous album from Custard Flux, you'd be mental not to avail yourself of a copy. Absolute quality elegantly performed to perfection by a top flight ensemble. Cap doffed.

Get your double 150g blue or black vinyl, housed in a quality card stock gate fold sleeve adorned inside and out by some fine art by Gregory Chamberlain, plus lyric sheet and postcards, from Custard Flux. Bloody Lovely.

Marco Rossi, The Sincerest Form Of Flattery

 

Recently I was kindly gifted this absolute gem by a close friend; The Sincerest Form Of Flattery by Marco Rossi, a fabulous 8'' lathe cut EP from the wonderful Fruits de Mer records (Friend Of The Fish 67). Rossi dishes up a glorious slice of 60's psychedelia sensitively re-imagined for our times, beautiful; we could certainly do with some of that 60's hope. As you'd imagine being from FdM this is a quality item, top notch by every metric, bravo. Marco Rossi is best known for being a member of The Kevin McDermott Orchestra and the fabulous Gothic Chicken (Not heard of them? Then you really must check 'em out, 'cos you're missing out.). It's immediately evident that Rossi has a deep understanding, love and respect for the original source material and the 60's psychedelic period from which they came, as his interpretations do the originals justice conjuring the same atmosphere and yet still managing to bring something new to each; he's chosen four wonderful tracks, interesting left field choices too, beginning with 'Ivy Ivy' by The Left Banke, followed by 'My Friend' by Spirit, 'L.A' by Orange Bicycle and finally 'Forget All About It' by The Nazz. Man, this is good. Rossi's arrangement and production are perfectly pitched, his attention to detail meticulous, getting everything spot on, his voice naturally lends itself to the genre and all together he's rendered a warm and engaging 60's musical aesthetic that you can just sink right into...sumptuous. I understand that these four tracks are but an appetizer, and that there's a whole CD available! Now, CD's are my last choice of format, I've never forgiven Tomorrows World for it's false claims regarding the durability of CD's; that said, I'll be trying to procure a copy toot suite. Would you believe it this project was produced in a bedroom too, mental! Yup, that's right, Rossi created this in a bedroom. Far out.

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.

The Wounds of Mata Hari by The Locker Room Cowboys

 

The Locker Room Cowboys (much in demand bassist Andy Budge, renowned multi instrumentalist John Garden and psych legend Icarus Peel) return with the release of 'The Wounds of Mata Hari'; what would best be described as a 5 track mini album, or maybe a extended single? Either way it's more of what we've come to expect from the finest psyche/rock band you've probably never heard of, The Locker Room Cowboys, top quality original music with an engaging and unique sound. Now I could, a have been known to overly wax lyrical about bands and releases I like, often turning my posts into superlative synonym soup; always with justification I may add. Still, nobody needs that. So, simply put these fellows have again done what they do best, created a nice set of diverse sounding tracks; all well written, perfectly crafted and performed, along with being tidily produced they're literally music to your ears. Cracking stuff! Get over to Bandcamp toot suite and buy 'The Wounds of Mata Hari'; whilst you're there fill your boots with everything else they've released, it's all good. Why this band aren't better known is a mystery to me and an affront to music. The Locker Room Cowboys first album 'The future came and stole our dreams' dropped during the pandemic and was criminally overlooked as a consequence, criminally I say!  In my opinion it remains one of the best albums I've heard in years, always a welcome and rewarding listen; wade through my review here. 

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 '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.

When the Warm Times Come by Andy Roid

 

It's the time of year for gifts and Andy Roid's (Here & Now, Music of the Andys) latest single release 'When the Warm Times Come' is just that, a real Yuletide treat. 'When the Warm Times Come' was written to celebrate the Winter Solstice in 2019 and incorporates a wonderful poem of the same name by Norman Lies. As you'd expect from Andy's music it's deeply atmospheric, all rich textures creating almost tangible soundscapes. The opening eerie drone slowly twists and morphs into a haunting retro 80's sci fi style vibe, through which weave threads of the mystical and magical, of something approaching or emerging, dawning, it's audio but you can't help but experience it almost cinematically. Andy's an electronic/synth wizard for sure. To my ear some Andy Roid tracks have something of the 70's weird to them, a sense of something mysterious just out of view in the shadows, something unearthly or otherworldly maybe, there's definitely some of that going on here. Bassy yet sharp reverberating electronic sounds mark your arrival in an alien space, a strange futuristic world, then the introduction of Norman Lies earthy pagan flavoured poem juxtaposes the two worlds of scifi and nature sending them swirling and blending seamlessly. Wonderful stuff. It works perfectly as a captivating aural accompaniment to our strange times, and in the poem we find hope, an understanding of the timelessness of the seasonal wheel balanced with an anticipation of better times to come. Lovely. Go check it out, and his other releases on his bandcamp whilst you're there.

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!

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.          

Schnauser

Over lockdown, when I've had a couple of quid spare, I've tried to buy something from bandcamp, musicians are having a hard time of it and hey, I love music, two birds and all that. Recently I bought a Schnauser cassette single. I've long liked schnauser, they have a original psychedelic sound, warm, theatrical, very British, it's both thoroughly engaging and absorbing, Alan Strawbridge has a fabulous voice too. If you're interested, there are two related bands The Lucky Bishops and Gothic Chicken, different, though all sharing DNA. Love one, I guarantee you'll love them all. Though I digress. Today my cassette arrived, and to my surprise was accompanied by a signed copy of the bands 2010 album 'The Sound of Meat', far out! I'd seen that you got a free signed copy when you bought a t-shirt, never imagined I'd get one with my paltry purchase. I was made up, man, how cool is that, so generous, made my day. Both cassette and CD are fabulous. Also, the band recently posted that there'll be a new album on the horizon. The cool just keeps piling up.

The Locker Room Cowboys,

Bassist Andy Budge's project The Locker Room Cowboys have released their first single since the band's début on Fruits de Mer's triple vinyl compilation 'The Tree Seasons' (performing an outstanding interpretation of the Rolling Stones 'We, love you'), and it's very cool indeed. Two wonderful tracks 'Always Love You' and 'Revolutions'. 'Always Love You' has a lovely 60's folk rock-esque ambience, soothing jangly guitar and lovely backing vocalsa sunny afternoon of a song, whereas Revolutions' has a much  grander arrangement with a bigger sound, would work well in a film soundtrack I reckon, or...as the final track on an album, it's a fantastic number. I understand that Andy has the musicians lined up to record a Locker Room Cowboys album, now that's something I can't wait to hear. You gotta go check this out. A little side note, I love this image of Carrie Fisher, she was cool, and of course a definite childhood crush of any Star Wars fan of my generation.

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!

Kangaroo Moon @ The Square and Compass 19.10.19

Tonight we found ourselves packed inside the thick Purbeck stone walls of the 18th century Square and Compass pub perched high on the hills above Seacombe Cliffs with dramatic views along the Jurassic Coast.  The assembled were gathered to enjoy a performance by legendary musical troubadours Kangaroo Moon, who blend myriad musical influences to create all sorts of wonderful aural magic that touches the spirit. If you've read my posts before you know I've a tendency to effusive verbosity and, man, I could wax lyrical about tonight's performance, but I'm going to try and spare you my clumsy prose (of course, I will go on a little bit) and just say this evening's performance was bloody marvellous! The word that best describes Kangaroo Moon's performances is 'real', and in our fake world you can't put a value on that. Tonight the band comprised of Elliet Mackrell on violin and whistle, David Williams on things with strings and other things, Gem Quinn on drums, Nick Marshall on guitar and Mark Robson on keyboard, didgeridoo and everything else. As if that wasn't enough, they were joined by Gong's Dave Sturt on bass, adding some funk to the proceedings...nice! Something really special about tonight's performance was the relationship between Elliet's violin and Dave's bass, man, that was something else. What a superb line up. Every one a musician highly skilled at their art, which was obvious throughout their performances, and none more so than during their various stellar solos. There were two sets, both a lovely mix of fast or slow numbers, every track was bliss, creating a wonderfully uplifting and joyful atmosphere, there was dancing and smiles all round, the ensemble appeared to be enjoying themselves too. Kangaroo Moon's blend of traditional and globally infused psyche folk flavours resonates deeply, it's proper music, real, touching that part of your subconscious where ancestral memories live, that was enhanced by being performed in a 250 year old building who's walls are soaked in centuries of tradition and memories of similar evenings throughout the ages...it's timeless music. As I said, bloody marvellous! Thank you Kangaroo Moon and Mr Sturt, you're beautiful people, and thank you Square and Compass for putting on these elevating evenings, keeping our spirits buoyed on the turbulent seas of our times. Kudos y'all. If you're wondering why the photo is of an empty stage, it's because the rest of my shots look like they were taken by Mr Magoo.