acidfolkreview6

Locust Music

Josephine Foster : A Wolf in Sheep's Clothing / Ein Wolf im Schafspelz (US,2006)***°'

This is really an odd release by Josephine Foster but I still recognise her style.

It is based upon a collection of traditional-classical music songs of German Romantic composers (like Schubert, Brahms, Schumann, Wolf), with songs which were sung in bourgeois areas in small circles and at home before the war. The songs start from the beauty in them (Schubert's "An Die Musik") but from the moment weird electric guitar is playing something else vaguely over it, -this must be the same guitarist as on her album with the Supposed- one can expect there’s something weird about them. Often Josephine sings these songs as if she plays the role of someone who is detached and banned from her homeland, so that these old remembered songs become like melancholic songs of lost visions, departed from the vivid adaptation in life and detached from its qualities that originally gave some extra significance to life. Why the title “a wolf in sheep’s clothing” is chosen, I have no idea. In some way the whole atmosphere reminds me of war and of the conditions and memory from before and after. “A wolf in sheep’s cloth” could at the same time be about what people still think and remember from Germans and the WWII. “Auf Einer Burg” (Schumann) is sung as if being in a dark loneliness, not completely into the true grief of it, but to some degree still in the direction of Patty Waters earliest album. The rambling experimental guitar and strange vibrating echoed sounds here for me are like the passing by of tanks and machine-guns, deformed and carried away by the wind, and memory.

While a beautiful, more uplifting song ends the cycle, this brings a slight hope to the strange and rather unique view Josephine Foster has once more provided. Also: the songs often sounded more like Jewish complaints than like old German songs.

Of course I’m not sure how deliberate the effect the music gave to me really is intended. Perhaps it is only the spontaneous experimenting with the songs that gave them something alternative, but I personally think there’s a deeper felt expression that stands strong beyond this interpretation, that gave this album something unique.

Audio : "An Die Musik" (Schubert) (or here), "Der Konig In Thule" (or here) (Schubert) , "Auf Einer Burg" & http://www.cmt.com/artists/az/foster_josephine/1267170/album.jhtml

Label info : http://www.locustmusic.com/josephinefoster.html

Homepage : http://www.100songsising.com/

Other reviews : http://www.pitchforkmedia.com/record-reviews/f/foster_josephine/wolf-in-sheeps-clothing.shtml

& http://www.indieworkshop.com/music.php?id=2417

& http://www.cargorecords.co.uk/release_zoom.php?item=2854

& http://www.foxydigitalis.com/foxyd/review_detail.php?id=1416

& http://www.verydistro.com/moreinfo.aspx?id=16818

& http://www.digitalisindustries.com/foxyd/review_detail.php?id=1416

Reviews of some of her older solo releases : http://singersong.homestead.com/folk2.html#anchor_47

Drag City

Faun Fables : The Transit Rider (US,rec.2002-2005,iss.2006)***°

This is a mostly home-recorded album on an 8-track recorder, a collection of songs which made it to a theatre play. The story starts in inspiration, as being said, from the moment of Dawn’s arrival in New York travelling through the metro rootes (-you hear the sounds of a metro in the beginning and in the end of the recording-), with a number of moving songs and ideas. That point in Dawn’s life was a choice to be free and look around into the world watching people and imagine of how they really are. Her first album with songs attracted Nils Frykdall, who saw music with a theatre play direction. Faun Fables became also a theatre play which evolved to 13 cast members and six members in the band, adding more songs to the repertoire. Songs are for instance “Taki Pejzaz” which is said to be from Zygmunt Koniecny, based on a poem by Antoni Szmidt, but which I know from one of the most moving melancholic live songs ever, by Polish cabaret singer Ewa Demarzcyck. Faun Fable’s version can impossibly be as strong, but still stands on its own. Another song, “I’d like to be” is a song by Soeur Sourire, also remembered as the singing nun, who wrote many great songs of which many were like personal folk-gospels.* The traditional “House Carpenter” has moved away from the folk area, but still is a personalized vision from a woman like standing alone on the beach, perhaps not being able to leave the house. Like the previous album, Family Album, suggested, the visions are able to look back too. Dawn’s mother Michelina Tyrie participates on a song (“Earth’s Kiss”), and also included is a poem by her dad Will McCarthy (“I No Longer Wish To”) written during his last days as a stock broker. Other than from sitting in a metro, remembering great songs, and having loose thoughts and imaginings from the past, present and on moving forward with time, I don’t see yet how they musically, as well as in a concept fit well together further than this, and what else they begin to mean as a whole. The songs, even when worked out well enough and project seems to be in a working process and transit zone themselves. The very specific vocal qualities are everywhere and there are fine arrangements, but the album gives less surprises compared to the earlier albums. Perhaps they even became a bit detached because of working so long in a theatre concept.

Faun Fables on this album are Dawn McCartney: vocals,acoustic guitar, bass, autoharp, percussion; Nils Frykdall (Sleeptime Gorilla Museum): vocals, acoustic guitar, electric guitar, percussion, guitar, clack, flute, bass, 12-string guitar, glockenspiel, drum, percussion; Craig, stroh violin; Phil Williams: vibes, vibraphone, percussion; Dan Rathbun: bass, log, additional vocals; Mike Pukish: kit drums; Jason Ditzian: clarinet; Robin Coomer: vocals; Max Baloian: accordion; Brian Schachter: piano; Noe Venable & Penny Allman: additional vocals. Co-produced by Dan Rathbun.

Audio : "Transit theme"(or here or here), "House Carpenter", "Taki Pejzaz", "Roadkill" "In Speed",

"Dream On A Train"

Info on group : http://www.dragcity.com/bands/faunfables.html & http://www.silverleafbooking.com/artists_faunfables.html

Info or reviews on theatre piece : http://www.oaklandmetro.org/TRANSITRIDER.html

& http://www.thedailytimes.com/sited/story/html/235994

& http://www.jambasetickets.com/evinfo.php?eventid=11418

& http://www.bigsphinx.com/faunfables/

& http://www.pollstar.com/news/viewnews.pl?NewsID=6836

& http://www.sfbg.com/entry.php?entry_id=375

Gig info : http://www.faunfables.net/appearances.html

Homepage : http://www.faunfables.net/ & (with audio) http://profile.myspace.com/faunfables1

Dan Rathbun info : http://www.inkboat.com/inkbio/biodan.html

Other reviews : http://www.drawerb.com/reviews/1146245446.htm

& http://spidey.kfjc.org/index.php?p=1503

Ewa Demarczyck (POL) : http://www.trytel.com/~skok/demarczy.html Audio (after a jazz track) (WFMU) here

Singing nun / Soeur Sourire (B) :

Review of her first LP : http://singersong.homestead.com/reissue2.html#anchor_84

Drag City White Magic : Through the sun door (EP) (US,2004)***°

Those who already appreciate the wonderful Faun Fables, I think will like this one too. On “One-Note” singer Mira Bilotte has a very varied melody line, combined with an almost dance-rhythm on piano with band, making the song very attractive. The slower “Don’t Need”, and “the gypsies came marching after” all have similar wonderful melodic arrangements with varied instrumentation, building itself up a little bit like a multi-dimensional card game house, with underlying magic of the cards and all. Basically these tracks have piano / guitar / voice triplet arrangements, with accompanying bass and drums. “Keeping the wolves from the door” in between these tracks, is arranged with bluesy acoustic guitar only, has a crying-along-vocal with happy-rhythm blues, expressive in its own form. The first four tracks for me are all musically very inspired. Rhythmically it’s like taking you inside some joyful ride. Last two tracks fare a bit different, and needed for me another listen to understand. “Plain Gold Ring” is sung like a mourning-blues on a kind of slow minimal repetition pattern, of bass and drums, with only here and there a piano touch, perhaps a bit too minimal to make it as attractive compared to the earlier songs. Also the last track,

“Apocalypse” has a similar pattern, but there the full band makes more contribution.

For me the release withstanded repeated listens.

It's hard to tell to which genre(s) I would place this group, but those interested in many of the items which are listed on my pages of psychedelicfolk.homestead.com, as in basic acoustic foundations, and in emotional and intuitive song-oriented expressions, I'm sure this could be another release to enjoy !

Info : http://www.dragcity.com/bands/whitemagic.html & http://gravitygirl.shafted.com.au/0504/020.html

Review : http://www.pitchforkmedia.com/record-reviews/w/white-magic/through-the-sun-door.shtml

& http://www.cokemachineglow.com/reviews/whitemagic_sundoor2004.html

& http://www.dustedmagazine.com/reviews/1455 & http://www.tonevendor.com/item/12794

Info : http://www.spin.com/features/band_of_the_day/2006/11/061115_whitemagic/

Dutch review : http://www.subjectivisten.org/caleidoscoop/archief/001295.php

Italian review : http://www.sentireascoltare.com/CriticaMusicale/Recensioni/2004/...

The group's 2006 EP and new release is reviewed further down ->

TrefinglePinkie Maclure & John Wills : Cat’s Cradle (UK,2005)***°

This duo shows with this new release, compared to the earlier one, an improved sound, working towards perfection, especially on the first half of the album, where there’s most attention to various multi-layered arrangements. This makes the opener, “The Bending Wood”, so special : with fingerpicking, on a number of instruments (with some experimental textures), the wide range (-bass to soprano-) voice of Pinkie Maclure, and the use of melodeon. Near the end her voice becomes almost animalistic and ritualistic, making the track and a few others similar to the waterway that Faun Fables travels. Also “Slowly, slowly, the water flows” is like this : wonderfully arranged, with a multi-coloured percussion use that reminds me a bit of an early Jablkon track, and with an open ear to interesting sounds. "Cat’s Cradle", like a few other songs following on after this, found more inspiration based upon a rhythm of a repetitive melody for creating a perfect mood fundament for the voice of Pinkie, to have some room to improvise. “Cat’s Cradle” is even more than this, an interestingly arranged dialogue, -within a song structure-, between kettledrums, acoustic guitar, cymbals, voice, and some funny moving string sounds. From then on, musically, (except for "Fine Flowers in the valley") this mood creativity will become most important. “Good Luck upon you”, the longest track, leaves the structure, with more repetitions, open to some vocal mood improvisations, which includes here also some attempt to throat singing and other ideas. "Fine Flowers in the valley" starting a few seconds a capella, with bells, lyre, concertina, is like a magical UK folk song. “I take the long way round” takes again inspiration from a slow 1/2 cradle rhythm. Instrumentally it takes the fundament of a mood-creativity-thing, with a pagan mother-like energy. At some point Pinkie expresses herself vocally as if with a kitten like contentment. The concluding tracks have some similar energy. Also the song "Over and over and over" sounds like a little cat rolling in her emotions. And "Lay down your arms", is another variation on a similar mood like this. Here' it's like a lullaby, to be heard when already lying down. Difficult not to become such a kitten after all this.

Audio : "Good Luck Look Upon You", "Over and Over and Over" on http://www.pinkiemaclure.co.uk/music.htm

Another Pinkie Maclure track on : http://www.sigmatropic.gr/english/sounds.htm

Other review : http://www.theunbrokencircle.co.uk/album_reviews_text_archive8.htm#Bookmark 3

available in MP3 from : http://www.wovenwheatwhispers.co.uk/Label-Review-PinkieMaclure_and_JohnWills.htm

New 2006 release ius reviewed here :

Drag City

Faun Fables : Early Song (rec.1999,re.2004)***°' (vg->perf)

This is a reissue of Faun Fable’s first album. Stylistically all elements which I expect from an acoustic psychfolk and acidfolk related item are there. First we have a very good and expressive female voice, and arrangements which follow an intuitive inspirational mode with the song. The inspiration includes some shadowy darkness in inspiration, some of which is traditional. Dawn ‘faun’ McCartney’s voice starts singing like a dancer, an angel, and a fallen angel at the same time, in a dream and in reality. (some tracks : "Old Village Churchyard" & "Bliss"). Then the traditional “Only a minor” is sung differently, like an old country-blues song. Also “Honey Babe Blues” later on is such a gospel-like old blues song, well interpreted. And we have also “O Death”, which gets a folk-like interpretation as original as Buffy Saint-Marie would do. “Ode to Rejection” then is her own song and has its portion of influence in gospel/blues emotional depth. A great song, where she even invents her own cynical yodelling in it (quote “If I wasn’t amused I’d be celibate”). Then, surprisingly, the song after that, which concludes the album, even is a Swiss yodelling song, charming and amusing, but after the previous song still cynical in some way. It must have been a joy to sing this. It gives a last impression of a real intelligence behind what she’s doing. She accompanies herself by guitar, and has help on some tracks by Nils Frykdahl, 12-string electric, flute, percussion, Samantha Black, cello, Roy Burger, pump organ, chamberlain, Mark Orton, lap steel guitar, David Cooper, vibraphone. Her texts and approach show a certain depth to expressions and the same approach is intended in her texts. Although the recording was finished in 1999 this is the first publication of it. It’s a songbook of solo material which Dawn performed when she travelled. Highly recommended.

Info : http://www.faunfables.net/ & http://www.dragcity.com/bands/faunfables.html

& http://ectoguide.org/genre/experimental/faun.fables

Article : http://www.westword.com/issues/2004-06-17/nowhearthis4.html

Other (small) review : http://www.hour.ca/music/spin.aspx?iIDDisque=2329

Picture of Dawn : http://www.healthyconcerts.com/...

Interview : http://www.flamingfire.com/GodMagazine/faunfables.htm

Drag City

Faun Fables : Mother Twilight (US,rec.2000,pub.2004)****

While the first album in some way could be considered as a singer-songwriter album too (there are various items like this, with as much acid folk reference as that one, which you can read reviewed under the section of http://singersong.homestead.com), this album definitely has a group’s identity. With small repetitive patterns but at the same time lots of melodic evolution and lots of acoustic instruments, with song orientation, it gives this partly more “psychedelic folk” character. The first couple of songs have also a kind of clarity in feel (just listen to “Sleepwalker”, for instance, with autoharp, gamelan, guitar, chimes), and beauty. The album sounds, for a large part, like a good fairy-tale like book. Then here an there it really becomes something like theatre. Especially the more experimental title track “Mother Twilight” and “Moth” are like that. These tracks have also a “stranger” use of vocalisations and vocal harmonies (it was the track

"Beautiful Blade"which predated the entry of more vocal harmonies). One track, “Girl that said goodbye”, based upon a poem by Bridget McCartney had some reference notes to Soeur Sourire, the singing nun (a French singer which I respect as well, with a real sad story of life). Another strange recording is “Washington State”, lo-fi recorded on the background, as if it’s a found field recording of a kind of local inspiration.

“Catch me” is also different with harder electric guitars and funny partly background rhythm :

very expressive.

Another very good, and recommended album.

Catalogue entry : http://www.dragcity.com/catalog/records/dc274.html

Other review : http://www.sfweekly.com/issues/2001-07-04/music4.html

& http://www.hrmusic.com/discos/fafram39.html

Article : http://www.ollapodrida.org/archives/000288.html

There’s a third album out as well, which was published earlier this year. Review :

Fence Rec.

Pinkie Maclure & John Wills : A small piece of Afterwards (UK,rec.2004)**°'

This is a very nice to listen to mini-CD release of an Anglo-Scots duo of John Wills and Pinkie Maclure. We hear whispers, textures, acoustic guitar finger-picking patterns, neo-folk like concertina use, added with some melodeon to make the sounds and evolutions more full and melodic. Half of it is instrumental music, slightly minimal, like neo-folk but much more colourful, in psychedelic-folk meandering. I didn’t hear much of this music coming from UK, because nowadays it is mostly the US presenting us the best examples. Pinkie sings in low registers, almost as low as Nico did, but sings when necessary in a higher register. There’s often a kind of campfire-humhum lullaby-like mood, mystified with story like sound textures and melodies. On “the long way round” this sounds much more like a pagan ritual creating a natural psychedelic drive. On all tracks are calm repetitive patterns, a nice mood overall, all song orientated enough to mean much more than mood texture creation.

I still think this might be one of the first real introductions of psych-folk on UK ground, I am aware of. Very good and a perfect listen..

Their new album is due for release in Jan 2005 on their own label Trfingle.

PS. 1* John Wills was founder member of psych-noise (?) group Loup. 2* Pinkie & John have played many times in Belgium with their old bands Loop and the Hair and Skin Trading Company.

Info : www.pinkiemaclure.co.uk & http://www.fencerecords.com/folks/pinkiemaclure_intro.htm

Review of group : http://www.tonguemaster.co.uk/artistinfo.htm#pj

Other small review : http://sonomu.net/text/~pinkiemaclurejoh/

Other reviews : http://www.fencerecords.com/press/music_pfc01.htm

Review of single : http://www.tonguemaster.co.uk/newreleases.htm

Review of other album of Pinkie : http://www.alive.co.uk/reviews/017.htm

Contact : John Wills & Pinkie Maclure

Deerpark Music

Deerpark : “It made her look spidery” (UK,2003)**°'

Deerpark is one of those groups who succeed in having this perfect independent in-between-everything-style, or at least in between a variety of styles, all acoustic. I just try to describe this a little bit to give some idea. The music group arranges its music like a chamber music band, playing with a sweet jazzy mood, but is in fact (like) an indipendent group. We hear violin/double bass, and fingerpicking arrangements most of the time, with harmonica and trumpet adding even more warmth to it. The singer has a murmering and soft voice. The accompanying band takes over the mood which the voice directs. Nice, really nice. And a pleasant listen. (This is a mini-CD).

Info : http://www.deerparkmusic.com/ & http://www.stayfun.co.uk/recommends/deerpark.asp

& http://www.bbc.co.uk/leeds/music/band_directory/deerpark.shtml

Contact : Rachel Mcwatt

Review : http://www.stayfun.co.uk/albums/deerpark-itmadeherlookspidery.asp

& http://www.splendidezine.com/review.html?reviewid=1090318248405774

Pinkie Maclure & John Wills and Deerpark both had a gig with Sharron Kraus in October, 2004.

Drag City

Faun Fables : Family Album (US,2004)****°

Compared to the two earlier albums (listed above this one) I detected with this release a more directed, but still very open, conceptual or thematical inspiration behind the creative drive. The result can be appreciated somewhat like literature, as for others it might also be experienced as expressive as any art-movie. Within this expressive form, there are some mystic aspects ("Lucy Belle") with some placement of the "(song-)writer" amongst these visions. “Preview” describes Dawn McCartney's own place, focusing on the world as if it is visualized between dawn and twilight. This is expressed with the medieval like dulcimer combined with acoustic guitar. "Eyes Of A Bird" shows that she shares her destiny there. Even a paranormal vision is used, under the form of a poem that derived from a ghost (on “Poem 2”). Various family related memories and evolutions are explained (like on “A mother and a piano”). “Joshua” is a song written for a specific child who departed too soon. Also “Still Here”, later on, is a song about departure.

“Higher”, -in fact a traditional hymn-, starting with an old operatic excerpt, with church-like Hammond organ, has within its context angelic-like thoughts that can be interpreted in many ways and through different eyes and positions. Such songs create something surreal, in a twilight sphere way. Musically the songs have interesting arrangements, which are slightly comparable somewhat to how Art Bears were interested in arranging their music in a more avant-garde territory. Compared to Art Bears, Faun Fables have a much more intuitive evolution, and a more open emotional warmth. The fundament of their music is acoustic. Another strong thing is that all aspects like the drive, coming from musicality, song-writing, from singing variation etc. are all equally strong in their parts, which makes the music very successful. Then we have

“Nop of Time” which is for me something like a Robert Wyatt-like odd song made and sung by a 7 year old child. “Carousel with Madonnas” is the only track with a more “progressive” drive and arrangement. It seems to be a Polish song written in 1963. Beside Dawn's varied voice, I must say that Nils Frykdalls voice, like on “Rising Din”, can also be very expressive, but in a more inner-world sphere-way (Peter Hamill expressed himself in such a sphere too). “Fear March” then, is more theatrical, with multiple voice arrangements. If that wasn't enough, the last songs add a few extra musical ideas. “Eternal”, which is a more recent Brigitte Fontaine song, -from a powerful expressive album !- arranged with many odd-but-funky semi-acoustic rhythms. (It is a song about a person, a woman, who wants to be accepted for the true aspects of her personality). “Mouse Song” is a traditional Swiss song (Dawn has drawn inspiration from Swiss songs before). It is arranged in a very original pleasant new folk-song way. Last song, “Old and Light” concludes with full optimism, while looking back at all social and familial relationships. A masterpiece !

All three Faun Fables albums are highly recommended.

Article : http://www.ourbrisbane.com/whatson/gig/reviews/2004_11_18_3.htm

Review : http://www.dustedmagazine.com/reviews/1292 & (with audio) : http://www.boomkat.com/item.cfm?id=13624 & http://www.dustedmagazine.com/reviews/1292

& http://www.dallasmusicguide.com/albums/faunfables.htm

& http://gravitygirl.shafted.com.au/0504/013.html & http://www.digitalisindustries.com/foxyd/faunf_family.html

Live pictures of group during third album : http://ubuibi.org/faun_fables/

Article around this third album : http://dailybeacon.utk.edu/article.php/7433

Locust MusicJosephine Foster & the Supposed : All the leaves are gone (US,2004)***°°

Sharron Kraus told me in an interview lately that there exists a small community of artists living and coming together in three-in-a-row houses in Philadelphia. They share that kind of creativity with a extensive inspirational effect which we experienced before in areas which psychedelic or acid folk lovers are interested in, for whatever that means today. This basically “still folk-related music” (some newer groups distant themseves so much from the old scene, they even prefer to list themselves within an anti-folk label reference), brought forth individuals like Jack Rose, amongst others, and groups like Espers or Born Heller (see review on next page) where Josephine Foster acted as a singer. Those of you who are listeners and music lovers who might miss the magic which the UK folkrock area had, should look no further than to these Philadelphia based groups mentioned.

In a song like the opener "Well-heeled men" Josephine Foster has transformed a whole range of heritage that included the UK folk(rock) influence, in the arranging, singing developing it into something really new (Woolfman says a Trees type arrangement on the first track). At the same time The Supposed group drives this image even further away from such areas, with a song like “Worried and Sorry”, here and there with a real “New American music” feel. I can say the same about “All the leaves are gone” with odd slide guitar and vocals, making a crazy emotional lift possible to a bellydance-for-the-mind. Also the closing track, “(You are worth) a million dollars” proves that the group has an American origin in its inspiration, but still stand completely in its own field of inspiration. On a few songs Josephine’s voice comes out in a qualitative way comparable to the unique voice of Shirley Collins, like on “Silly Song”. The band still gives it a more rock driven sound, with arrangements doing justice perfectly to each song . Also on “Nana” the strong emotional vocal abilities of Josephine comes to the fowell into this rock drive, always doing perfectly justice to the songs. On only two tracks they speed up forcefully, like on "Jailbird (hero of sorrow)", almost post-garage-rock-like, in a sophisticated way, and on “Deathknell” which is much more aggressive, in an emotionally way. (“I had a mother, her mother had a mother-no one remembers her name”).

I think for this one Josephine’s voice might slightly be distorted on this. Voice and band performance mostly are equal in energy and drive, like on “Worried and Sorry”.

Although many tracks, like I said before, could remind some people of folk-rock, or even psychedelica, but also indie-rock, amongst other things, with a track like “John Avenue, seen from the grey tree” it goes beyond-rock for sure. Also on songs like “Who will feel bitter at the days

end ?”, the group never stop surpassing any limited genre definitions, with no boundery to tradition, and with strength in each moment’s honesty of expression. (“No bargain, no fable, it’s actually true, what’s on the table I supply to you” “Who will feel bitter at the days end ? Not me..” & “What I am able and willing to do I do freely for men like you.”).

A very strong release. Recommended.

Info : http://www.100songsising.com/ &

http://www.locustmusic.com/josephinefoster.html

Review : http://www.digitalisindustries.com/foxyd/jfoster_leaves.html &

http://www.pitchforkmedia.com/record-reviews/f/foster_josephine/all-the-leaves-are-gone.shtml

I reviewed another release by Josephine Fostere before, Born Heller. Review on next page.

Latest solo-release (and links to reviews of earlier solo-releases) see further down->

Concert info : http://tk-jk.net/euphonic/EuphonicList/PlasticCrimewaveSoundJose.html

Trefingle Pumajaw aka Pinkie Maclure & John Wills : becoming Pumajaw (UK,2006)****

With this release the duo Pinkie Maclure & John Wills is “becoming Pumajaw”, a group with a well-hanging-together sound, which is given attention for the small details in a perfect production. Basically the music is played by acoustic guitars (except for one track by concertina with lyre), lead by the beautiful smoky low vocals of Pinkie Maclure. These “details” I mentioned are the well fitting additional arrangements of some wa-wa effect-guitars (track 1), harmonica, … and small echoing effects (by coat hangers, ebow loops, table, guitars,..). Two tracks are a bit more rhythmic. “Weather Potions” has for instance some calm moody rhythmic parts, and more psychedelic and trippy elements. Also the traditional “The Holy King” is arranged with more percussion, and is getting more psychedelic and electric near the end. My favourite track is the wonderful interpretation (music, vocals and emotions) of the song “le chanson des vieux amants (="song of old lovers") from the famous Flemish (Belgian) chansonnier Jacques Brel (who started to sing in French after a while). A great and highly enjoyable starter, with a really nice sound suitable for a first acquaintance with the group.

Audio : "Buttons", "No Lamentin"

Info : http://www.pinkiemaclure.co.uk/pumajaw/trefingleshop.htm

from Homepage http://www.pinkiemaclure.co.uk/ Also : http://profile.myspace.com/pumajaw

and http://www.wovenwheatwhispers.co.uk/Label-Review-Pumajaw.htm