Little Somebody   Arrowwood / Novemthree (US,2007)***'

This music leaves a flavour of sadness making me remember how disappointed I am in many people for being so hard on others who deal with incapabilities through circumstances while their own goals and judgements are not open for change, and are there to stay. When I heard Bob Theil singing lately something like “we’re so busy numbering our enemies instead of giving ourselves to our dreams ?” It told me once more that in chasing our dreams we sometimes fail, but in fact that should not matter. Now, withdrawn from most scenes, I am able to see calmly all that is reflecting, and while life passes by more quickly, the real lack of change behind that does not reach me with its destructive energy that does not want to see struggling change more than real evolutions during each process. I’m now one with nature, and work in various gardens. All meetings pass just the way like animals. The instinctive creatures pass more quickly, while the loving one remains longer. Novemtree’s music is minimal, and therefore very easily from a sad nature, provoking this way very easily all thoughts that dwell, but within those minimum layers it also finds shapes of something eternal, while with the nervous energy in a distance, it finds its own shape in nature and into a natural balance and process. The handrums to it (drones, flutes, guitars) makes it a personal ritual, ghostly female vocals pass by, the humming and ritual are also like a funeral. Sounds of frogs makes the wandering soul one and withdrawn in natural, the sadness shows its own life, slow, and a bit romantic if you wish (piano)…

Arrowwood can be seen as the feminine side of Novemtree. And like the specific woman (I forgot her name) for the becoming-stagnant phase of Shiva, she brings life to where he had brought them, gives meaning and birth to songs and happiness, giving a meaning to life in the woods, she really is like the voice of life for it, while he delivers a few instruments and flute playing, a singing glass bowl. She’s fantasy in song, awakens the energy, with sweetness, innocence and with an unrestrained care. The two cdr’s make a beautiful pair.

Homepage with audio : http://myspace.com/arrowwood & http://myspace.com/novemthree
Label : http://www.myspace.com/littlesomebody
Other review : http://curveofsound.wildhunt.org/2007/12/10/venturing-into-a-dark-wood/
Interview : http://www.eveningoflight.nl/en/interviews/pythagumus.htm
Twisted Nerve Voice of Seven Woods : A Firefly Dusk / Winter's Temper (UK,2006)****'

The second single contains a beautiful fairy tale like song, “The Firefly Dusk”, which is accompanied on sitar with fast picking guitar, and has some improvised parts with additional bass, drums and percussion, and wah-wah guitar. Side B, “Winter’s Temper” is an instrumental with two acoustic fingerpicking layers, building up a tension with some swelling percussion, a combination of skills and simplicity, played with much emotional affection and much effect. 500 edition only.

Audio : "The Firefly Dusk", "Winter's Temper
Homepage : http://www.voiceofthesevenwoods.com/
& with audio http://www.myspace.com/voiceofthesevenwoods
Info on release : http://www.twistednerve.co.uk

Previous single has been reviewed on http://psychedelicfolk.homestead.com/guitar6.html#anchor_177
New 2007 release has been reviewed on http://www.psychedelicfolk.com/guitar6.html#anchor_189
September Gurls Rec. Fit & Limo : A Garland of Flowers (LP) (D,2006)****'
+ Fit & Limo : A Bunch of Herbs (D,2006)****

It’s been a while since we heard from Fit & Limo, so it is wonderful to hear of this double release, an LP with CD, mostly of now hard to find mostly previously released material with some exceptions.

Most songs on the LP were published before on their now sold out pre-September Gurls records releases, and were taken mostly from their wonderful Angel Gopher Lp, 1993. In that way I’m very happy to hear the great version of Incredible String Band’s “Three is a green crown” which includes fuzz, acoustic guitar, sitar, tabla, organ, or “Come with me”, and many other fantastic tracks from Fit & Limo’s early period. The album starts with “September 13th” which is a very nice 12 string instrumental which I forgot about. Most of the time this period will recall Incredible String Band at their best, but with a unique flavour which is typical for Fit & Limo. Their sound on these songs is absolutely gorgeous, charming, beautiful and unique, even when they stay often close in inspiration to The Incredible String Band. Besides ISB, “The Life and Times of Pan”, just like “Nutshell” for me also recall the ‘Parsival’ period of Elly & Rikkert. And let’s not forget a middle eastern/eastern hypnotic feel too to some of the tracks, like in “The Carpet”. “Goddess” is a more free ride on exotic sounds, followed by a sitar improvisation in a song, “Gopher Hat” next to the more hypnotic exotic (middle eastern/eastern) feeling in the next song, “Mystery”. This mix of exotic instruments, the attractive voice of Limo or Fit, all contribute beautifully to make a perfect psychedelic folk mix. Definitely a classic, which is not to miss if you missed the ISB tribute single, Angel Gopher or the double CD “Folly Is An Endless Maze” which contained most of these songs.

To make the purchase even more attractive, an extra CD of archived material comes with it, including many of the tracks which were published on various, now mostly sold out, compilations. From the 11 tracks on the CD, 5 were previously unreleased, one is an alternate version, and another one is an extended version. One of the instrumentals had a simple cello improvisation of Myriam Goldberg (Black Forest/Black Sea) over it. There has been caretaken that the tracks sound a bit different in the compilation. The new track, “The Lizard and the dragonfly” for instance, has acoustic strings as fundament, then some mellotron. The instrumentation in general always adds some dreamy happiness to the music, a flavour which I still find very unique for Germany of today ; but perhaps I must say it is possible that this flavour, sadly enough, even might be rare for this world, and in this way the music I think can work as cure for all the conspiracies and other focuses on selfishness. Most of the tracks on the CD are instrumentally just a bit simpler, with a certain essence of effective slightly dreamy beauty. Included is also a very fine Syd Barrett cover, “She took a long cold look” with some sitar (previously released in 1995), a version which gives an idea of how Syd Barrett could have been truly accompanied, I can imagine. Also their charming Pearls Before Swine cover from the Tom Rapp/PBS tribute album is included. A bit different and interesting is the one before last track of over 15 minutes, “Humpty Dumpty”, starting with some mellotron-like sounds recalling for me a bit the Steve Hillage-like echoing guitar (?). It is a track in several different sections of arrangements, building up, from an almost medieval flavour to pure improvisation, with, in fact, many different kind of instrumental inspirations of accompaniment, a track which is alone worth the purchase to find out about it. A nice closer is the German lullaby, “Wer hat die schönsten Schäfchen?”.

LP+CD : 319 printed only on silkscreened covers.

Info : http://www.shinygnomes.com/familybands.html
& http://www.septembergurlsrecords.com/...
& http://www.septembergurlsrecords.com...
See also the seperate page I made for Fit & Limo
Fatcat Rec. Our Brother the Native : Tooth and Claw (US,2006)***'

There are many similarities to Animal Collective's crazyness and acoustic experimenting. I can find another hint to Cocorosie computer toy game sounds, and somewhere Devendra Banhart's odd voice comes to mind too. If this is deliberate inspiration or not, Our Brother the Native sound like very spontanuous inspiration and improvisation, and arranging. It is of course obvious how much the result on this album fits with several other Fatcat Records releases. There's a delicacy and sponaneity in the acoustic experiments and arrangements, done with some multilayers of several recording sessions. Only a bit of delay is used. Any of the primitive aspects of the first creative moments are overcome by all the work done on the tracks, so that it gives an impression of a finished product, no matter how vaguely the ideas might have been at first. Well done !

Audio : "apodiformes", "octopodidae" ; or with info on http://www.myspace.com/ourbrotherthenative
& http://www.purevolume.com/ourbrotherthenative
Label : http://www.fat-cat.co.uk
Review with three audio tracks : http://www.boomkat.com/item.cfm?id=22024
Other reviews : http://www.bbc.co.uk/dna/collective/A12466325
& http://stylusmagazine.com/reviews/our-brother-the-native/tooth-and-claw.htm
Interview : http://angryape.com/interviews/2006/06/our-brother-the-native
Their 2008 release is reviewed on http://progressive.homestead.com/prog11c.html#anchor_181
Orange Twin Rec. The Instruments : Cast a half shadow (US,2006)***°

The Instruments is a musical group and project from Athens, Georgia, with 11 members participating, led by singer/songwriter and classically trained cellist Heather McIntosh, with lush melodies and melodic chamber arrangements with songs overshadowed by a hanging cloud of melancholy dominating with a slowly evolving cyclic minimalism. Now and then the songwriting comes to the fore, like on the beautiful “Seems so far”.
This is the group’s second album since their 2002 debut. Very nice !

The Instruments are Heather McIntosh (vocals, acoustic guitar, cello, keyboards); Will Hart (vocals, percussion); Derek Almstead (electric guitar); Scott Spillane (sousaphone, Mellotron); Peter Erchick (keyboards, background vocals); Jeff Magnum (background vocals); Hannah Jones (percussion, voice); John Fernandes (clarinet, bass clarinet); Sallie Lupis (double bass); Jeff Mangum (vocal harmoies); Eric Harris (trap kit and accordioline); Doug Owens (oboe); Scott Spillane (mellowphone and sousaphone).

PS. Lead singer and singer/songwriter Heather McIntosh is also part of Circulatory System (as a cellist), Elf Power, Japancakes and colaborated with Great Lakes, Superchunk, Of Montreal, Pipes You See, Pipes You Don't, The Gerbills and Kevin Ayers. Jeff Magnum and Scott Spilaine are also part of Neutral Milk Hotel. Will Hart, John Fernandes, and again Jeff Mangum were part amongst others of the Elephant 6 Collective.

Audio : "Seems so far", "Branches for many birds", "Our Lovely Ladder", http://dev.buymusichere.net/...
Video : "Branches for many birds" (live)
Info : http://www.orangetwin.com/instruments2.html
Homepage (with audio ) : http://www.myspace.com/theinstruments
Other reviews : http://www.billboard.com/bbcom/discography/index.jsp?pid=498998&aid=777146
& http://elephantsix.blogspot.com/2006/05/review-instruments-cast-half-shadow.html
PSYCH & ACID FOLK / INDIE FOLK related items REVIEW PAGE 15

ARG : Salvador Cresta (4x), UK : Magicfolk (2x), Voice of the Seven Woods, D : Fit & Limo
US : Kathleen Baird, Auto Da Fe , Alan Sparhawk, Vlor, Our Brother the Native,
Cabinet of Natural Curiosities (2x), Novemthree (2x), Arrowwood (2x), The Instruments

Go to the next review page->

or go back to psych-folk index
or go back to general index




private   Salvador Cresta : El Trovador fantasma y la comida del espejo (demo) (ARG,2005)****

This release is the best of all three Salvador Cresta releases and most accessible for non-Spanish listeners. Unfortunately in all three releases there’s a disturbing bass-buzz sound (bad earthing ?) in many of the tracks, which you hear not so much in headphones as on big size music boxes that are sensitive to bass tones.. -(I think this still can be filtered out if it is ever remastered for an official release-).  This is a collection of songs composed with a serious body but also some playfulness, adding funny noises or background noises (dogs bark more than once in the background ; or some rhythmical car horns loop on the far background which seems to have brought poetical/textual and music inspiration for a song on "Vemimentos") or funny vocal harmonies and beautiful acoustic guitar improvisations, sometimes also becoming surreal. This could remind us easily of early work from the Spanish Sisa (with Musica Dispersa & Sisa solo), or is like an acoustic Cocorosie with complete Spanish roots. The playful vocals might also remind people just a bit of Devendra Banhart singing in Spanish, with more variety. People, who like the fantasy world of Finish items like Lau Nau, and imagine it mixed with a more textual and song world, can have some idea of Salvador Cresta’s musical world. Texts I think are important. There are tracks, like “Un Reloj” which are more like poetry set into music. Most vocal expressions, with all the free-from vocal fun and expressions, I guess are all honestly driven from this textual core, and perhaps a few times become still rhythmical avant-dada-like music themselves (especially on “Piedras Simceras”). A great release which I hope will be discovered soon by some label.

Lyrics here ; Info & audio on http://www.madgranja.com.ar/salvadorcresta_album_trovador.htm


priv. Salvador Cresta : Comó remontar un barrilete a través de una serie de estornudos (demo) (ARG,2005)***°

This release (which I believe is the first of the three) has some comparable elements like the first reviewed album, but still is from a somewhat different perspective. First 6 songs have strong rhythmical melody evolutions on acoustic guitar, for the first tracks in a hypnotizing way. The following short tracks mostly use more voices (as being partly an instrument) and a few extra instruments or arrangements (glockenspiel, whistling, flute, toy-organ, simple electronic sounds,..) which makes the music more like a kindergarten playground, (with all necessary fun- (making) elements), but still song based. After track 14-15 the music seems to be more serious and built from the textual expressions. Some tracks are spoken word (14,15), while with track 16 they hold the middle between vocal theatre and poetry, and many others hold the middle between spoken word poetry and song orientation, before there are again (by track 20) based upon fun with vocals, acoustic guitar and other instruments, comparable to the previous album I reviewed, in a more serious way, and to Devendra Banhart again. I miss of course the textual foundation, but the music still is enjoyable. Last track, (track 23) (with the usual vocal harmonies) with additional handclaps, and keyboard ping pongs is a fun version "Whiskey bar".

Lyrics here Info & audio : http://www.madgranja.com.ar/salvadorcresta_album_estornudos.htm


private   Salvador Cresta : Tertulias de sótano submarino (el abuelo está viejísimo) (ARG,2006)**°

This album contains short ideas, first of child-like poetic and then more serious word and story driven songs, accompanied by beautiful acoustic guitar fingerpicking, with just a bit of whistling, background noises and other things. Track 10, suddenly, also uses a one-note core of a keyboard. The music is dreamy calm with awareness, with a pretty mood of improvisation, with a inner happy freedom of performance like on a sunny day-off. Many tracks are spoken word, in a rhythmical Spanish, within a song structure. This is the calmest album of all three.

Homepage with audio : http://www.madgranja.com.ar/
Contact  : Salvador Cresta  ; Lyrics here ; info here      Another Salvador Cresta album here : ->
Secret Eye  Kathleen Baird : Lullaby for Strangers (US,rec.2000-2001,re.2006)**°°

When Secret Eye released her 2003 CDR recording officially under the name of Traveling Bell, there was in fact another, previous recording which had to wait until now to be released on CD. For some reasons it was chosen to be released under Kathleen’s own name. It is also a much more loner/closed-up personal expression, more loosely intuitive and a bit more monotonous than the second album. The inspiration territory is often very safely balancing between a few notes, creating a veil of a sweet-beautiful moody vagueness, with soft and pleasant harmonies and vocals, but with mostly only sketches of directions of momentous inspirations, not really leading to more structural ideas except with some of the harmonies. Kathleen stretches her voice like Nico with the harmonium, intuitively focusing on the notes themselves. Suddenly on “With which these waters swarm” she sings softly in a more cabaret direction, like a feminine Pierrot, with piano, which gives some extra expression. Her keyboards improvisations are interesting and nice and add another element. But as quickly as they were created from the spontaneous supposed-to-become-a-unique moment, they are dissolved back into nothingness in their evolution. After the album was finished I wasn’t sure if anything real, more than the briefly ethereal, had happened. 

Audio : "Breaking the roofs", "Morning Song #2"(here), "With Which These Waters Swarm","Storms stay fine"
Review of demo version : http://www.foxydigitalis.com/foxyd/travbell_lullaby.html
Review of demo release of this (under the name of Traveling Bell) :http://www.foxydigitalis.com/foxyd/travbell_lullaby.html
Info : http://www.secreteye.org/se/travelingbell.html
Other reviews : http://brainwashed.com/index.php?option=com_content&task=view&id=5072&Itemid=64
Links to reviews of earlier related releases : Traveling Bell, Spires in The Sunset Rise (2 releases), Tar Pet
Secret Eye  Auto Da Fe : The Spectre (US,2006)***°

Martin Kvisvic and Tara Tavi from Amps For Christ also formed a duo, Auto Da Fe, since 2000. The group had no real earlier release, with exception of one track on a compilation.

This release sounds very much like a fictive travel through exotic or foreign areas with interpretations of the idea of medieval (“Past Times”), Middle Eastern or semi-Eastern (mostly Chinese), and a few other country related styles. On “Little Alili” and in a few other places the songs are almost like temple ritual songs. In general everything sounds like a journey in the mind, as a creation of a personal imagination and expressions, with a story to tell. I very much like the improvisations on zither, accompanied by electric or acoustic bass and percussion on "Mao Meow" and with Chinese flutes on "The Spectre" and later on "Just slow". Especially on "Just Slow", like elsewhere, this powerful zither playing keeps alive the tensions and almost manic energy with the feeling of visionary exploration and travel. The interpretation to where the mind went can become really something odd and weird, because they are a bit more part of the mind and its intuitive interpretation form. The Middle Eastern flavour on "Bao Ba Cha" is actually a moody off-key oddity. "Ne'er do will" after this also is a nightmarish lullaby with an off-keyed "I-will become-a-Chinese (tuned)" tension. The sinister aspects of exotism are even continued in the track after this, "Undun", even when at the same time all its unique beauty finishes the expression, here with very nice vocal arrangements. "Huar Weishenme" sounds a like a reinterpretation of a Jewish melody, but seems to originate from a Chinese melody. "Tea House Tragedy" is another Chinese tuned melody (?) and is a very nice chamber-(anti)-folk interpretation of it, from which I received the idea of naming this 'free-world chamberfolk'. The new combinations of instruments and tunings, like also on "Monkeyking" often sound very clever, pretty brilliant and vivid. Mostly the songs, which are often with female vocals are switched with instrumentals, which makes the album accessible to listen to. "Dynasty of Drums" is the track closest to Amps for Christ, because it uses experimental electric noise (from guitar?), with drumming and the sweet vocals from Tara. Some spheres referring to a few Western countries conclude the album. "Sophie" is a slumbering half-remembering going-to-sleep version of a Greek tune (with balalaika,..), while the pipes and tin drums on "Neptune Society Ball" bring the Scottish highlands in mind, in another long lost and gone memory, fading out in colours in a trance-vision.

Instruments used on this album are :
Tara : guzheng, yang qin, marimba, Tibetan cymbals, tambur, Chinese banjo ; Martin : bowed instruments (like double bass,..), bouzouki, balalaika, guitar, bass, recorder, sampling. Additional help was delivered by Paul Stewart, vocals, gothic harp, Joel Connell, drums and tablas, Aaron Conell,bass, Henry Barnes, guitar, Sandor Fintor, drums, David Nelson, horn.

Audio : "Past Times" & on http://www.myspace.com/autodf
Label info (will be added soon): http://www.secreteye.org/se/autodafe.html
or on http://www.allegro-music.com/online_catalog.asp?sku_tag=EYE324
The related group Amps For Christ is reviewed on http://psychedelicfolk.homestead.com/acidfolkreview3.html#anchor_48
1. private Cabinet of Natural Curiosities : Vineland EP (US,2006)***°

This beautiful, descriptive name is the multi-art project (visual art, poetry and music) lead by Jasmine Dreame Wagner. Live, and on her, until now, limited editions of privately released recordings, she is/was accompanied by a number of persons (Nathan Purrbot, Scott Kennedy, Brandon Shimoda, Andy Smetanka, Matthew Trygve Tung, Rachel Hartman, Kathy Wasik, Anne Guthrie, Jonathan Zalben, Joe Price, Armando Jaramillo Garcia, B.C. O'Neil, Jank Darger, Wayne Coin, Joseph Edward Martin, Ryan Thomas Martin). Besides she shared stages and performed with Wooden Wand and The Vanishing Voice. But she has her own vision and talent that deserves to be heard.
Many songs have delicate fingerpicking guitar spins, with additional help on glockenspiel, birds, amplified guitar, or a bit of percussion. Also her singing is also sweet and delicate. In between songs are instrumentals, often larger band affairs, (a bit of amplified guitar, percussion, bass, keyboards, flute,..) with its own organic, structured improvisation, with a spiritual feeling here and there. A few tracks are combined with kind of sweetened industrial, experimental sounds of percussion, found percussion or scraped strings, without ever losing the poetic art feeling. Each track has a natural variation. The way in which experimental sounds, fingerpicking also in composition ("Beas over Seas") comes to life is a special experience.
Recommended to acid/wyrd/psychfolk lovers.

Audio : "Calico","Beas over Seas" & on http://www.myspace.com/jasminedreamewagner (with links to other reviews)


2. privateCabinet of Natural Curiosities : Black Wolf Dancers Play Galaxy Of No Stars (US,2005)**

This is a live recording (recorded at Soupean Space) of an improvised group under the same name, consisting of Jasmine Dreame Wagner, Ryan T. Martin, Joseph E.Martin, Wayne Coin, B.C.O'Neil and Jank Darger. It is in fact something completely different, and is a rather loose jam. Especially the percussion is played by blown away heads. The piano rambles, with some aggression, the bass plays nervous waiting room rhythms, and the plucks and experimental sounds are like a wardrobe search. Vocals appear like recalling woodworms while foot stamps and wooden claps scrunches them. Last track is like a scalp of an native Indian ritual speaking, scraping strings like ripping off flesh, with tomtoms on tamtam, and bits of lalalu singing words..

Official albums of C.O.N.C. will be out soon by Perhaps Transparent, Friendly Biceps & Workerbee Records. I will keep you informed !!

Audio : "Black Wolf Dancers Play Chariot Of Pale Fire",  "Black Hole Son Emerges From The Cosmic Leviathan"
Info with sound : http://www.last.fm/music/Cabinet+of+Natural+Curiosities
Homepage : http://www.cabinetofnaturalcuriosities.com/ &
http://www.myspace.com/jasminedreamewagner    next release->
private Salvador Cresta : Arana vegetal al viento (ARG,2006)****

Salvador Cresta made this new bedroom recording of half spoken half sung poetic miniatures with multi-layers of voices, acoustic guitars, a couple additional child-playful sounds on keyboards and toys, and a tiny bit more serious organ/keyboard and additional flutes (especially beautiful on “raro versio raro despliega un par de alas quemantes”). The whole recording is a real pleasure to hear. I can sense the bedroom with a wide open door to a terrace, sun coming in, birds whistling, dogs barking far away. Very nice ! Hope this will find an official release soon.

Earlier releases reviewed up (with additional links). Video here
Blogspot with info, audio in rar format,..: http://salvadorcresta.blogspot.com/   2007 release on next page->
first ep cover
private Magicfolk : (EP) (UK,2006)***'

I received this, a bit short but really promising three-track demo ("Heliopolis", "Aibo", "Narcissus"). Especially "Heliopolis" shows the multitalents in the group. This is besides nice female harmony vocals, and humming-warm guitars, and nicely sounding songs, a bit of moody acoustic improvisation leaning towards folkrock and psychfolk, also a tiny bit of more progressive keyboard improvisation. The group sound hangs together with some delicacy in combining talents and arrangements and with enough musical variety and mood to be entirely convincing. (Update : the demo has been released now on CD).

Audio of 4 tracks : http://myspace.com/magicfolk
Homepage : http://www.magicfolk.co.uk/
Intro : http://www.norfolkfolk.co.uk/PERFORMERS.htm
& http://www.norfolkgigs.co.uk/viewbandpopup.php?band=236
& http://www.partysounds.co.uk/go/a-z-bands.php?ads=10&letter=M   next Magicfolk release->
1. Silber Rec. Vlor: (EP) (US,2006)**°

Vlor is Brian John Mitchell (Remora) and Russel Haslasz who started in 1992 doing acoustic guitar versions of Cure and Bauhaus. Without having equipment to add delay, reverb or loops they continued to explore the simplicity of some minor key guitar riffs, arpeggios, and other repetitions, and recorded in homerecorded conditions 90 minutes of material and send them to six friends : drone-pop musician Jon DeRosa (Aarktica), who added a bit of harmonium and guitar, Mike Van Portfleet (Lycia) who added guitar harmonies and some reverb guitar, Nathan Amudson (Rivulets) who added electric guitar and keyboards, dronemoodpsych-folk singer Jessica Bailif (solo and from psychfolk group Red Morning Chorus), added hush vocals, violin and acoustic guitar, and Jesse Edwards (also from Red Morning Chorus) who added Indian instruments and hand percussion, and Paolo Messere (from 6PM) who added percussion, electric guitars, keyboards.

The result are moody tracks based upon the simple guitar loops or repetitions, made a bit richer through the added layers of the contributors. The album works a bit like more melodic ambient guitar music. It is rather improvised and is over before one notices..

Audio : "Wires"
Homepage : http://www.silbermedia.com/vlor/
Press info : http://www.silbermedia.com/presstools/silber051.pdf
& http://www.silbermedia.com/vlor/vlorpk.html

More links :
Remora review : http://singersong.homestead.com/newsingers-7.html#anchor_292
with Remora with Pale, Horse, Rider and Rivulets album review : http://psychedelicfolk.homestead.com/poor.html#anchor_86
Rivulets reviews (6 releases) : http://psychedelicfolk.homestead.com/poor.html#anchor_85
Jessica Bailif review : http://singersong.homestead.com/newwriters-2.html#anchor_139
Lycia short review : http://singersong.homestead.com/MedievalDCD.html#anchor_47
with Tara Van Flower (Lycia) review : http://singersong.homestead.com/newsingers-7.html#anchor_296
Red Morning Chorus review : http://psychedelicfolk.homestead.com/acidfolkreview.html#anchor_60
with info : http://psychedelicfolk.homestead.com/files/red_morning_chorus.txt


2. Silber Rec. Alan Sparhawk : solo guitar (US,2006)*°

An album which still fit to the Vlor album, but which is more stretched and makes use of feedback like droning effects is this album by Alan Sparhawk (Low, The Black-Eyed Snakes) using a guitar mostly and some metallic sounds for all the droning effects, with only a minor use of chords and melodies, based upon almost entirely on loop-and feedback effects, with background spherical guitar loops, infinite drones with an at times certain sleepy-droney effect of sometimes even only one note. Not really my cup of tea, but I prefer to list it here for some reasons.

-I didn't see any tracklist on the cd, so here are the titles : 1. How the weather comes over the central hillside 2. Sagrado Corazon de Jesu (first attempt), 3. Sagrado Corazon de Jesu (second attempt), 4. How a freighter comes into the harbor, 5. How the weather hits the freighter..., 6. ...in the harbor, 7. How the engine room sounds, 8. Eruption by Eddie Van Halen, 9. How it ends-

Audio : "How the weather comes over the central hillside", "1:45", "1:51", "13:25
Info : http://www.silbermedia.com/alansparhawk/
Other review : http://www.opuszine.com/blog/entry.html?ID=3041