Voodoo-Eros   Quinn Walker : Lion Land / Laughter’s an Asshole -2cd- (US,2008)****'

CD1 : Laughter’s An Asshole:

It is not clear if this is a one man band with incredible patience for multi-tracking and cloning ; it sounds like he has a whole bar of a ritually bewildered crowd joining him. I don’t have to mention the leanings towards a New Americana Hippie weirdness, and self-humour with it ; I think just looking at the photo-collage of an attack of big louses on his hippie hairs is already convincing. There’s something celebrative in his crowd following the pompompom rhythms. The effect of the jamming, handclapping, the army of footstamping, the weird-harmony harmony-singing togetherness, shows a mobilized group dedicated to music, making the first fire dance music where making a fire is no longer necessary. This group’s harmony in new rock form is comparable in some degree to groups like Thee Silver Mount Zion and their Tralala band, including the building up of rather psychedelic tensions. And certain points this group sings or at least make sounds on the level of communal birds or beasts, singing iiii and a’a’a’a’a, (on “Baby Neon”, but also on “up here in the air”). Quin himself leads songs, sometimes with deformed voice, and with a few companions or a whole crowd of weird harmony seekers with him. The instruments cannot always be recognized any more in the mishmash of clashing and spanking, but violin, specially sounding keyboards, glockenspiel (perhaps combined with toypiano), and of course acoustic guitar, and some brass are some of the instruments I recognise. A bit weird, attractive and enjoyable music, but not strange.

CD2 : Lion Land:

The different conceptions and ideas on Lion Land proves how Quinn Walker pretty much remains a true Artist with visions, while some tralala factor remains, there’s use of more (playful) instrumental ideas with electronic music and keyboards and there are less multitracks involved for the vocal harmonies. The album starts with some playful games with words, making from a Lions safari a Disneyland picture “I will make love to those who deserves to life, and I will kill who deserves to die”…“save the lions, save your body, save your mind, shave your body, slave your mind...”. The album is quieter and more relaxed and moody, but there are style surprises too (even a small fragment of fast punk).
The label explains that “‘Lion Land’ is basically an e-card sent to grandma back in Africa from a tribe of lions on their first visit to Disneyworld/Kissimmee St. Cloud, Florida.  Damns and whirlpools of itchy frightening frequencies tenderly romance lyrics that orbit the worlds of ecstatic parochial school patriotism and junglebook moral codes. Industrial beats are stocked by hems of cinematic synthesizers suckering you, as a sunset might, into having an emotional moment.”
Another great original and artistic impression of what should do as a pop album. Don’t miss this.

Audio : "Save your love from me" & on http://voodooeros.com/listen/ve005/ve005.html
& on http://www.juno.co.uk/... & on http://www.rhapsody.com/...
& on http://www.buymusichere.net/...& on http://music.barnesandnoble.com/...
Audio & info : http://www.myspace.com/quinnwalker 
Articles : http://prod1.cmj.com/articles/display_article.php?id=29547343
& (with video) on http://www.mp3.com/news/stories/10873.html
& on release party : http://www.chiefmag.com/blog/?p=727
Other reviews : http://www.tinymixtapes.com/Quinn-Walker
& http://audiversity.com/2008/01/quinn-walker-laughters-asshole-lion.html
& http://www.popmatters.com/pm/music/reviews/quinn-walker-laughters-an-asshole-lion-land/
& http://www.citypaper.com/music/review.asp?rid=12720
& http://stereogum.com/archives/band-to-watch/artist-to-watch-quinn-walker_007336.html
& http://www.crashinin.com/review_indiv.php?review_id=437
& http://www.digitalisindustries.com/foxyd/reviews.php?which=3069
& on http://www.insound.com/... & on http://www.soundfixrecords.com/... (with audio track of "Smile For Me")
& on http://www.inertia-music.com/...
Label : http://www.voodooeros.com/
with info : http://voodooeros.com/press_releases/ve005_pressrelease.htm
ACID FOLK & PSYCH-FOLK related items REVIEW PAGE 21 :

Quinn Walker, Twinsistermoon (2x), Nalle (3x), Beggin'your Pardon Miss Joan, Fern Knight, Suzy Mangion, Mountainhood, Spires That In The Sunset Rise, Paz Lenchantin, Lonesome Jonesome


Go to next review page->

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




Digitalis Industries   Twinsistermoon : Levels and Crossings (F,2008)**°

Because the label themselves was raving so much about this, (“it is better than Comus” I heard someone even saying) I needed to try this item, especially so that with an advance order copy I could get an additional mini-cdr of the group (of only 40 numbered copies). Sonically this comparison is completely irrelevant, because this item has a much more monotone-spatial one-mind linear and even rather blurry sound with its layers which is more typical for lofi and drone-folk recordings than it is comparable to any kind of 70s folk related recordings. 

Twinsistermoon is a one man project by Mehdi Amaziane (??), half of a duo which was called Natural Snow Buildings, who made some limited drone-folk recordings before. I wish there were more lyrics written down, because now I can hardly understand the whispery dreamy soft singing, while the few lyrics with album cover and its semi-Aztec drawings give an idea that this is all a metaphor of a personal story of someone hurt in love looking for a destined to be self-destructive solution because he feels too united with something that is known to be a lost game from beforehand, like an Aztec ritual to please the sun gods, invented to look for solutions of things that can’t be understood or solved. The thought and ritual is self absorbing. I do like the lyrics of ‘the black under’ : “only the black under your nails belongs to satan, the rest of your body is nothing but god’s property. Now you can scratch the earth, the surface of the sky, leaving traces, leaving scars, extracting and eating the liver of the stars”. Mehdi’s voice is as whispery as what I call the poor or introverted minstrels (like Rivulets,..) but he sounds much more closer to the area of a soft voice like Vasthi bunyan, even when not being feminine, and this is accompanied with picking guitar mostly, various small songs in between larger tracks of a more stoned vibe : drone-folk with harmonium, flutes, strummed guitar, wordless background singing, or on the last track, also bowed electrified string sounds. Sadly these instrumentals are recorded and mixed vague and blurry. There is much potential in the concept, while it does not come out enough, although the drawings help a little to feel the imaginations, the whole concept but with the last track, which has a five minute silence (like often in a hidden way extra minutes are added) before a last lost outro, the little strength in it, this way, thoroughly, also sadly falls apart through lack of a coherent clarity and structure to keeps it together as a document.

The digipack CD is strictly limited to 500 copies.

- bonus cdr for the first 40 buyers:
Digitalis Industries   Twinsistermoon : Rivers of Blood Ending In The Sun (F,2008)*°'

Also the small bonus cdr has attractive artwork, but the black spots on the outside are sticky and a part of it already sticks in the paper digipack, luckily not disturbing with the artwork much, but it is NOT the best idea not to protect this with extra plastic. This is a 5- track cdr of around 23 minutes. Nice to hear is the last track, the traditional (?) “House Carpenter’s Daughter” voice and guitar only, vaguely V.Bunyan-like. Other tracks are like bonus variations of drones and one song, of a bit boring additional similarity. 

Audio : "Scaffold", "With Blackened Eyes", "Winter Pamgri Epidemic", "Soul-Fate"
Review with audio : http://www.boomkat.com/item.cfm?id=82310
Label info : http://www.digitalisindustries.com/ace009.html
Other review on http://www.animalpsi.com/index.php?d=01&m=01&y=08&category=4
& http://grown-so-ugly.blogspot.com/2007/08/twinsistermoon-levels-and-crossings.html
Previous 'Natural Snow Buildings' albums : http://www.studentsofdecay.com/SoD68.htm
& http://www.studentsofdecay.com/SoD70-71.htm
& http://www.hinah.com/catalog/?l=en&t=s&ref=hinah012
click to see poster
click to see live photo
Locust Music   Nalle : The Sirens Waves (UK,rec.2007,pub.2008)***°

Nalle is a Scottish trio consisting firstly of Hanna Tuulikki, on vocals, kantele, guitar, recorder, flute, harmonium, water, oscillator, moog, jaw harp, shruti box, singng bowl and birds. She has I asume (name) Finnish origins, and a singing which has something of Björk on meditation, but also produces weird effects borrowing elements with Japanese fantasies, or elsewhere vibrates her voice with sometimes weird sounds of (positively and only descriptively meant) sheep-like vibrations. Outside her song and theatrical expressiveness, she also brings with her, in mind, the better groups of intuitive folk of Finland. Second member Chris Hladowski also has a group called The Family Elan, and he plays bouzouki, big muff, clarinet, gimbri, oud, percussion, oscillator, shruti box, mbira, harmonium, hammered dulcimer, faw harp, singing bowl, phonograph. He brings the group easily to more Middle and Near Eastern flavours (amongst the already mentioned far-eastern, semi-Japanese fantasies). Third and last member, Aby Vulliamy, plays accordion, cello and viola. She provides with her instruments either a chamber-effect, or adds the right pitched harmonies cooperating with the intuitive moods. All three members came from a more improvised group Scatter, while Chris and Aby also play in The One Ensemble of Daniel Padden, amongst other projects.

The first two tracks contain much highly flowing ethereal intuitive folk, while the lead voice of Chris Tuulikki leads them through these landscapes of exotic strings, while the third track, “Voi Nuusuni” sounds more Japanese. “Secret of The Seven Sirens” sounds more like a medieval-flavoured folk song with minstrel beauty, celebrative and with a dance part with handclap rhythms, but also is somewhat exotic, (imagine it also being mixed with a witches' dance), and has some dreamier parts. “First Eden Sank to Grief” with meditative plucks and bows and bass tones, has vocal harmonies singing to a far distance situation, as if having some Byzantine period in a dream state remembrance.

The album was produced by John Cavanagh (Electroscope,Phosphene).
The band has already a next project in mind : a collaboration with the One Ensemble which will be mixed by Hans Joachim Irmler of Faust fame. This was the band’s second album, besides a limited cdr which is also just released..(review of 1st album below->, and of live cdr further below->).

Audio and info : http://www.myspace.com/nallemusic
Intro on Nalle : http://www.nialler9.com/blog/2006/10/09/nalle/
Label info : http://www.locustmusic.com/...
Previous label info : http://www.pickled-egg.co.uk/nalle.htm
First album : http://rateyourmusic.com/release/album/nalle/by_chance_upon_waking/
Limited CDR on http://www.secreteye.org/se/eyesecretions.html

The Family Elan is reviewed on http://psychedelicfolk.homestead.com/post-asiatic.html    first album->
demo  Beggin’ Your Pardon Miss Joan : Dear Nautilus -EP- (UK,2008)***

The song music of this project is so absorbed in its, beautiful, somewhat soft-sad mood I needed to list it rather in the acidfolk section (and not the song music section). We hear mostly vibrating notes of amplified guitar mixed with moody repeated pickings and ultrasoft and sweet vocals (male or duo male and female), and a bit of bass. It is very dreamy, like a tunnel of a mood with no end, a canal of moody music to be driven by.

Audio and info : http://www.myspace.com/begginyourpardonmissjoan
Pickled Egg Rec.   Nalle : By Chance Upon Walking (UK,rec.2004-2005)****

This first album by Nalle is less dominated by what is a more confusing weirdness on the second album, and is much more a spinning around moods around the songs of Hanna Tuulikki, with no member dominating his/her own ideas on strangeness. Also Hanna’s expressions spin dream-like circles, with only a few strange vocal vibrations, while she sings stories and folk songs. The sweetly sung “Sea Change” with its soft touching picking strings and jew’s harp sound like a story told to children. The mood is only slightly weird, of which the strange harmonies of chord pickings are perfectly in balance mixed with more interweaving tonal harmonies, and also, there is as much of crystal melodic picking evolutions in what can be considered as more slumbering and droning moods. The viola plays a bit as if having the function of droning strings, like there used to be hurdy-gurdy or other instruments for this purpose. Especially “Iron’s Oath” provokes a mixture of something of a medieval mood, while it can also be Middle-Eastern flavoured/inspired, without much difference in essence. When the song is added to the first instrumental part in it, this song thoroughly becomes a dance. “New Roots”, in melody, sounds like a traditional English folk song, while the band is more droning a mood together. When the actual song breaks through, at the time when other singers come in, the mood becomes fairy-like and also this track begins to sound like a dance, a nature’s ode around a natural fountain, where weird and beautiful harmonies are mixed together in a way that this gives a magickal forest feeling, where the interwoven, natural and intuitive sounds are mixed with each other like weeds, branches and above all, grass. When only some voices linger on at the end of the track, this gives the feeling of “was it all but a dream?”; these voices hang around the scene like thoughts remembering something of a dream state of mind...

Audio : "Sunne Song", "Iron's Oath", "New Roots" (or see some WMFU broadcast)
Audio and info : http://www.myspace.com/nallemusic
Label info on http://www.pickled-egg.co.uk/nalle.htm
Other review : http://www.digitalisindustries.com/foxyd/reviews.php?which=1418
Dutch review : http://www.kindamuzik.net/recensie/nalle/by-chance-upon-walking    latest live album->
Pickled Egg Rec.Suzy Mangion : The Other Side of The Mountain (UK,2008)** ' '

Usually a front cover reveals much of the music, but even the artwork concept here is kept a bit hidden in the booklet. Also the songs remain somewhat introverted. On “Come In By Stealth”, starting with café talk on the background, it is as if she has several thoughts, but does not want to use them as a form of communication. Hidden is the message, while using comprehensible words, like a regret of a goodbye or a metaphor projected in a world where comfort can’t be found. The song arrangements however which are sometimes kept simple are often still carefully arranged, like little children or better memories ranging from childhood times (the echoes to a musical box melody on “Spar Box”) to the present (the café), and above all some participating example or hint of a baroque sadness melody. “Many Happy Returns” brings in a Bach theme on church organ, mixed with a mellow tone in feelings. This organ tuning returns like an echo of a memory, which is musically associated with a Bach-alike minimalism, and which is almost like a trauma of a memory by playing it on harmonium on “The Incredible Friend”. The careful arrangements give several songs something almost religious, not only for the Bach reference to some point, but also in its personalised gospel-like vocal arrangements, which showed some beautiful overtone harmonies mixed with normal harmonies, arranged with her own voice more often, and sometimes a male second voice. All kinds of musical ideas comes forth from the electric piano. “There is no West” is arranged like chamber-music. The Italian song “Il Mondo é Qui” returns to the mellower feelings and is again associated with something of a baroque melody in the back of the head.

This is Suzy Mangion’s first solo album. She participated before with the band George (with Michael Varty) from the mid 90s until just recently. She is also part of the duo The Winter Journey, and a member of Spanish electronica group Arbol.She also has collaborated with Piano Magic on their album 'Writers Without Homes', and on the Big Eyes Family Players’s ‘Do The Musiking’.

Audio : "Ohio the Homeland", "Il Mondo e Qui" and on http://www.zavvi.co.uk/...
Audio and info : http://www.myspace.com/suzymangion
Label info : http://www.pickled-egg.co.uk/george.htm
Other reviews : http://bolachasgratis.blogspot.com/2008/03/suzy-mangion-other-side-of-mountain.html
& http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=5762
& http://www.popmatters.com/pm/music/reviews/54060/suzy-mangion-the-other-side-of-the-mountain/
& http://www.music-dash.co.uk/releases/release.asp?item=5111
& halfway on http://www.terrascope.co.uk/Reviews/Rumbles_February08.htm
VHF Rec.Fern Knight (US,2008)****

This new album of Fern Knight sounds much more like a chamber-acoustic-rock album than ever before (on earlier albums, the songs laid a bit more on the surface) with clear recognisable appearances of harp textures from Jesse Sparhawk, and electric bass, and beautiful and ever in close-harmony ultra-subtle electric guitar improvisations by what I thought was done by Greg Weeks, but seems to be done by Jim Ayre (Fern Knight/Valerie Project) on a Gibson Flying V with also drums/percussion. Also participating is Sun Ra scholar James Wolf on violin. The album is produced and arranged with perfect ears intensely opening up and enfolding space of sounds for the compositions, improvisation and songs, with its own participating inspired level of spatial orchestrated music which has a sonic richness and intuitive clarity. Some of the songs were inspired from beautiful places where we still have nature left, like in Ireland. The last song is inspired from Liller’s “Paradise Lost”. The songs have most often clear moments, then dissolve with its vocals a bit into the full music form ; there also are beautiful chamber-like instrumental improvisations. Another masterpiece of the new American chamber-folk scene based in Philadelphia.

Audio : "Sundew" ; audio and info : http://www.myspace.com/fernknight
Homepage : http://fernknight.com/
Review with audio : http://www.midheaven.com/artists/fern.knight.html
Info : http://howlinwuelf.com/html/knight.html
Label info with audio : http://www.vhfrecords.com/catalog/110.htm
Other reviews : -

Previous releases I reviewed on http://singersong.homestead.com/folk.html
private.Paz Lenchantin : Songs for Luci (US,2006)***'

Argentine born Paz Lenchantin (from Armenian/French parents, both pianists) as a groovy electric bass player had joined A Perfect Circle, Zwan (with Matt Sweeney and Billy Corgan -from Smashing Pumpkins-) and then the bluespsychrockers The Entrance Band, and had some commissions on bass or violin or arrangements (Queens Of The Stone Age, the Japanese film ‘Hen’, Michael Mann’s Miami Vice).
A few years ago she recorded a solo release which is more acoustic and which features songs and instrumental ideas of string arrangements and vocal harmonies with guitar pickings. The package is officially printed, but the cds seems to be cdr copies sold privately or on occasions.
The mini album is dedicated to her elder brother Luciano who is a singer-songwriter for the band Big Milk. It very much sounds like a present of love with instrumental miniatures and songs which sound most often like lullabies, in a classical minimal/minimalistic way of folk, or a bit folk-Americana, presented like gifts, feather light ideas like feathers of wishes, carried by a slight breeze of strings.
Just the first violin on “Montana Train” sounds a bit like a straw violin. This track is a humming minimal dance of a melody. “Kentucky Hymn” is arranged with fingerpicking beautiful violin compact harmony-melodic strings (Penguin Cafe Orchestra-like), and ethereal vocal harmonies, is a vague miniature like only a memory of a song. “Violins” is another small filmic violin arrangement. The first more real song “365” sounds like an Americana lullaby, accompanied by a smaller sized strummed guitar and with a small vocal arrangement. “California” is another small minimalist mood-provoking lullaby arranged by violins/fiddle with guitar pickings. “Bloom Like Roses” arranged with string arrangements and country folk guitar, sounds a bit more like a country lullaby. Last track with country violin and with bit of percussion improvises pompompom her love & caring lullabies to its destiny to be given as a present…

PS. Also Paz sister, Ana, has a musical career, as a cello player, and she joined similar bands.

Audio & info : http://www.myspace.com/pazweb
Info on artist : http://en.wikipedia.org/wiki/Paz_Lenchantin  & http://www.ubl.com/pazlenchantin/
& http://suicidegirls.com/news/music/19563/
Discography : http://www.discogs.com/artist/Paz+Lenchantin
Homepage : http://www.pazweb.net/
Interview : http://www.bassgirls.com/bass_lenchantinpaz.htm
Secret Eye   Nalle : Live (UK,rec.2006-2007,pub.2008)***°

Between March 2006 and July 2007 a few live recordings were done : at VPRO radio in Amsterdam (4 tracks), Radio 6 in Glasgow (track 2), at Dwars festival (related with the radioshow on VPRO) in Amsterdam (track 4), and, with a bit less perfect recording condition at le Barbizon by radio WNE, Paris (track 7). Like most live concerts there are no overdubs and also not even any effects used so that the band very much shows how they technically work, and of course how they perform their songs live.

On several of the tracks it sounds like the group makes a background of plucked (and bowed) stringed instruments which seems to tune in vaguely to song and vocal inspirations, first through building up an intuitive mood, then participating with the song which appears out of the mood, keeping the evolutions instrumentally open, vaguely dancing around the song, while mostly the song context leads, which is often with additional dual female vocal harmonies (or with one more additional male voice as well) (1-3). If there is a bit of tambourine the player keeps it simple, and keeps it close to the singer’s melodies and involved rhythms. Differently arranged is “Iron’s Oath” which sounds more like a medieval dance song. “Voi Nuusuni” I described before as being semi-Japanese. Now I am not so sure any more where its origin comes from, but it surely is a special song. It is indicated as a traditional, but I can’t tell for sure from where. The clarinet keeps close in harmony with the singer, while the electric guitar slowly drones its distortion as a texturing carpet for the singer. More plucked harmonies are added, with weird tonal harmonies, and some bowed string arrangements, all by weird sounding instruments. The last two tracks have English folk inspirations. Both tracks sounds like traditional songs, but seemingly only the last one is. “Birth of the bear” with vocal harmonies by each member pretty much has something of old English folk, before adding a psychedelic stoned-stretched out part with harmonium, slow distorted guitar, far-out feminine vocal harmonies, which basically improvises on a drone again. A very good folk interpretation is performed with “Soul Cakes”, with beautiful folk harmonies in an English a capella folk style (baritone, and female vocals), with a bit of tambourine between the parts. A fine enjoyable release, which comes only as a numbered black cdr edition of 100.

Audio and info : http://www.myspace.com/nallemusic
Label info on http://www.secreteye.org/se/eyesecretions.html
Audio of live Broadcasts (VPRO,NL) of Nalle on http://www.vpro.nl/programma/dwars/artikelen/34267594/
& (WNE,F) on http://www.radiowne.org/Nalle
2 Casual Rec.Lonesome Jonesome : The Peeper and Chin Chin (UK,2006)***

This is a nice home-made and privately processed mini demo-album of delicately evolving and moody guitar pieces (played by 2 close-harmony acoustic guitars: of slow pickings mostly and strums), with simple hand bell rhythms following the guitar excursions closely, sound as if this is all improvised from a balcony on a great sunny day. The slowly passing cars in a distance which appear like a environmental sound sample on most beginnings (and which make the entire track before the last one, make the music complete as a realistic mood with a real environment; it is a soft sound almost like a breeze, and therefore has the same sonic effect as a seashore in the background..

PS. I found a photograph on his myspace site, taken outwards from inside a house which might be from the home I felt in the music, but then taken on a rainy day.

Audio & info : http://www.myspace.com/pazweb
Other reviews : http://www.cyclicdefrost.com/blog/?p=1770
& http://www.chaindlk.com/reviews/index.php?search=creature&type=music&category=0&format=0
& http://www.whisperinandhollerin.com/reviews/review.asp?id=5194
& on http://wonderfulwoodenreasons.homestead.com/reviewsJtoL.html
& on http://www.cyclicdefrost.com/blog/?s=jonesome
Secret Eye  Spires That In The Sunset Rise : Curse The Traced Bird (US,2008)***°'

On the early tracks from this new album I pretty much had the feeling the group took a step forwards in inspirations to make a new interesting, professional sound with a sort of contemporary theatre-stage-sphere related chamber orchestra sound combined with vocals as another instrument of expression. The first track builds up while looming with cello and double bass, close harmonically with echoing guitar effects, and the high tones of the vocals. Thumbpiano rhythms, in combination with electric guitar, electric bass, ethereal female vocals, while being more song related, direct already more towards a certain sphere of what sounds now as a semi-eastern dream of a song. Weird electric and acoustic guitar effects are added too, contributing like a nicely weird dramatic contemporary effect, which is harmonically well produced. The third track/song sounds as if imitating but also replacing a Japanese koto/court music effect, in a new, personal and rather heart-felt imagination and also western interpretation of Japanese musical elements, in a new theatre form. By this time the album is really convincing, as a rather unique experience. A weird tension with strings, rhythmical touches of thumbpiano, squalls of violin, builds up this time with more of a witches feeling, still in the song context, sounding darker but still interesting, and with remaining echoes of the koto-harmonies. The fifth track builds up in a comparable way, with more repetitions of chord themes and with throat vibrating vocal improvisations, slightly shamanic. Somehow this is building up a tension like a drone feeling. No more than this (still interesting) tension comes to it, and then it disappears again, leading to nothing more or nothing else. When something similar happens on the last two tracks this becomes a bit too transparent, sounding a bit too much like an ‘intuitive feminine way’, which is depending on the mood, but with no conscious structure leading to anything else other than a certain flooding balance between the instruments and elements, so that it is also as if the deeper lying challenge of the early tracks (bringing enough challenging elements together in a harmonizing environment, also with the guitar) this creative inspirations fades out with it a bit now. I did like the idea on the last track using the element of what I think is writing on wood in combination with the other elements…

Numbered edition of only 500 !

Additional remarks : Later I was told there is no double bass on the first track and no guitar and the plucked instrument is a spike fiddle. there is no double bass on the first track and no guitar-- the plucked instrument is a spike fiddle. Also, the stringed instruments on the third track is a very koto sounding banjo and mandolin (no guitar). There is no acoustic guitar or violin on the entire album-- it is all the spike fiddle. It is clear that the instrumentation is not real transparent, ; I just tried to describe what I heard, so that the reader might have some idea how the music sounds.

Audio : "Java Pop", "Equus Haar" & with info : http://www.myspace.com/spiresthatinthesunsetrise
& on http://www.audiolunchbox.com/...
Info : http://www.secreteye.org/se/spires.html
Descriptions on http://www.insound.com/... & on http://store.acousticsounds.com/...
& http://www.allegro-music.com/...
Review and short audio fragments on http://beta.bordersstores.com/online/store/TitleDetail?sku=714903934323

Previous 3 albums reviewed on http://www.psychedelicfolk.com/acidfolkreview10.html
Koka Rec.  Svitlana Nianio : Kytytsi (UKR,1999)****°

check also this release from Ukraine, (amongst other Russian and Ukraine releases) as one of the most acid minimalist harmonic chamberfolk related releases I have, compared to any of the other Russian speaking items.
It is reviewed on http://www.psychedelicfolk.com/ru3.html#anchor_149
Reverb Worship  Mountainhood : Brother The Cloud (US,2008)**°

review will be added soon

50 numbered copies


Info & audio : http://www.myspace.com/almadenfolk
Label info : http://reverbworship.com/2.html
Previous album under the name of Almaden on http://psychedelicfolk.com/acidfolkreview19.html