Locust MusicNo Neck Blues Band meets The Clear People with Mystery Gypped
Live at Ken's Electric Lake (US,rec.1998,re.2007)***'

From all the recordings the No Neck Blues Band, who also recorded under the name of NNCK, Locust Music chose this 1998 outdoor improvisation, because it is “looser, groovier ad more in a communal state of mind than ever”… “A classic testament to the urban dwellers’ gone wild and ranks as among their finest displays of tribal churn choogle in the band’s 14 year history. Neo dada attacks were sapped out for psychedelic vibrations, midrange mystery for outdoor atmospherics.” This label description captures this item quiet well. This sounds like an outdoor kitchen percussion demonstration, with lots of clicking rhythm sticks percussion, (as well as handclaps, and the search for a socially united form of thumb piano like rhythms) bass, amplified guitars that return most often to lead the structure a little, but slowly and with some repetitions of a few chords and a bit of oscillation harmony patterns. Just once it seemed that there was a jazz guitar in mind, elsewhere quirky loose-funky effects were added, but perhaps not fully appreciated and adapted as abnormal enough so that in its communal form of music too much order always tends to rise up as the opposite, so that everything remains spontaneous, and constant, moody, but open as well, a combination of a post-kraut affair mixed with the idea of after free-jazz amateurism but then just like a pro-tribal communal affair linearism with rules that keeps open enough freedom. The music more or less forms itself into a self-organizing natural continuity and order, and just when it tends to fall back at times to too much order, it becomes heavy emotional cacophony, and then refocuses itself to the rhythmical trance-psychedelic heights, where some of the percussion can be a bit more cooperative, -native-Indian like-, if wanted, and wordless vocals are able to sweep it up to freedom again with enthusiasm for a certain hanging together mode. While the second CD starts almost like a Saharan African ritual, the group form directs also to all different mentioned areas of more chaotic wildness, like a semi-native Indian hippie ritual. At some other time had the impression that not only fitting object sounds were added, as well as vocal shouts, but also some real chickens (run after ?) were participating into the compositional improvisation. With a train-like bell, and some additional flute improvisations, the whole communal vibe finally comes to a halt and to a satisfying conclusion. 

Audio : http://www.myspace.com/nnck 
video on youtube
Homepage : http://www.soundatone.com
Info on band : http://en.wikipedia.org/wiki/No-Neck_Blues_Band
& http://www.scaruffi.com/vol5/noneckbl.html
Label info : http://www.locustmusic.com/...
or http://www.forcedexposure.com/artists/no.neck.blues.band.html
Interview with band : http://www.popmatters.com/music/interviews/no-neck-blues-band-060116.shtml
Other reviews : (with audio track) http://www.dustedmagazine.com/reviews/3879
& on http://www.waysidemusic.com/...
Beta-Lactam Ring Rec.Volcano the Bear : Amidst The Noise and Twigs (UK,2007)****

CD’s that look like little artwork books, like this one -at least for the first 1000 copies only-, they are much more attractive compared to the plastic waste packages which are ironically enough called “jewel” cases. Since the description mentioned this "embraces the standards of Comus, 3 Hurel, early Residents and 12th century Arabo-Andalusian music, with partly some folk psych experimentalism full of “acidic harvest ballads that noisily well up into proto-Kraut thrums and tribal night trips around the pyre…” and further on…“…like a recently discovered field recording of some obscure Celtic clan who accidentally stumbled onto psychedelia 600 years ahead of its time” this has all the words and descriptions to tickle all my curiosity. I knew already how much I liked the group before, especially with some of the more compact results, so there was nothing that could stop me from trying this album, except that the Pound exchange rate can make UK albums rather expensive.

And this is Volcano The Bear again at their best, sounding as if this is developed from deeply experienced ritual inspirations, with just that little amount of weird, disharmonic sounds or chords that distort the mind to that degree this becomes like a trance-inducer on its own, while the music, partly uncontrolled continues, inspired from higher controls of through instinctive pulses regulated automatisms, creates its own new-ethnic evolution patterns, as if it unfolds and shapes the folk music of a new minority. With all the energy of a young group, this also has the experience of a long time resident of weird worlds finding beauty and energy from within each obsessive strange attraction. 

The music is mostly acoustic, and is very arranged with lots of instruments, with strings like guitar-like instruments like banjo, bouzouki, guitar and cello, but also flutes, clarinet or trumpet, instruments with droning strings, hand percussive instruments, and vocals (and beautiful vocal arrangements) for the song and ritualistic leads, and with just a handful of parts with some noise and distortion deformations, and of course additional sounds from casual objects that create fitting harmonies. I heard one more free cosmo-ethno-jazz improvisation, and the last track also is a longer improvisation. Brilliant stuff.

I hope in future the label will release similar book-like cds. This looks beautiful.

Audio : "The Sting Of Haste", "Before We Came To This Religion", "Larslovesnicks Farm", "Burnt Seer", "Cassettes Of Berlin", "Splendid Goose", "She Vang Moon", "One Hundred Years Of Infamy", "The Three Twins"
Label info : http://www.blrrecords.com/prod/1803/amidst_the_noise_and_twigs.html

Other review : http://brainwashed.com/index.php?option=com_content&task=view&id=6570&Itemid=90
Beta-Lactam Ring Rec.Volcano the Bear : Classic Erasmus Fusion (2CD) (UK,2006)****

With small ideas at first, the music of Volcano the Bear pulls you into a new world of odd harmonies, ritual minimalism and experimental surrealrock and strange songs. This world is a bit different from ours, but recognisable. Look at the artwork and you have some idea of the changes you are about to experience, and how your world is soon going to appear. I’m really glad this is a double CD, because once you’re out there there’s no way you want to come back. When the tracks grow longer I have the impression standing in a procession with odd characters with or without masks, with real shamans and fakes or clowns. But on the second CD there's also a longer trip with a droney dreamy sphere. The responsible organ continues in psychedelic, more horrifying spheres (voices scream in the background like frogs with wings), while a piano softens the mood (on "The last song of Norway") and a voice sings descriptive about the story underneath. The titletrack is an instrumental, built upon an experimental, spherical drone (with some bass and alto whistle instruments), while the last track brings back in the voices, coming from somewhere beyond this world, slightly unreachable, hidden in a wall or something, with a harmonium (and a few other instruments) conclusion.
A great album of musical theatre and film.

Audio : "Classic Erasmus Fusion","Did you Ever Feel Like Jesus","The Merry Potter","Onge Pate","Russian Milk","Baroque Sensation","Sharp As the Queens Teeth","Hey Judo","Baltic Minor","Lifetime","Classic Autumn Fusion","Hail the New Memphisto", "The Last Song of Norway","Shadowfishing","My Favourite Tongues", "Erasmus, The Queens Dentist", "See Me Now" or at http://www.secondlayer.co.uk/sounds/p2084.htm
Info : http://www.brainwashed.com/vtb/rel-erasmus.htm
& http://www.blrrecords.com/prod/846/classic_erasmus_fusion.html
Other review : -next album here->
Dom H.N.A.S. : Im Schatten der Möhre (= "in the shadow of the roots") (D,1987)*****

audio files : "Im Schatten Der Mohre 1",  "Im Schatten Der Mohre 2", "Bobbejaanland"

Somewhat similar in style is 'Melchior'
Audio files of "Melchior" : "Im Sommer Gibt's Nix Zu Essen", "Mastvieh Ohne Socken",
"Tonnenschwer Im Abendkleid",, "Speck Des Jahres"

Radioshow on HNAS releases with comments at http://psychevanhetfolk.homestead.com/files/HNAS.txt

Info H.N.A.S. : http://www.fakejazz.com/articles/coolerthanyou/hnas.shtml & http://www.fakejazz.com/articles/coolerthanyou/hnas2.shtml & http://www.fakejazz.com/articles/coolerthanyou/bonus.shtml
Contact the group : hirschenichtaufssofa@hotmail.com
Pax Rec./Fire MuseumHelena Espvall : Nimis & Arx (US,rec.2005;pub.2006)***'

Helena Espvall currently plays with acid folkrock band Espers, but she also played with free/acidfolk artists like Fursaxa and Samara Lubelski as well as with the Vashti Bunyan tour band. On this release, she has her own visions explored on the cello. Most of all this is based upon improvisations on the cello itself, pure and direct, but also through exploring challenging new tonal interactions on the cello, on the edge of tonal colours it is able to produce. This is combined with layers of more sound explorations and harmonies, produced by manipulated sounds (from the cello mostly) and tiny bits of electronica, by George Korein, and with additional touches on recorder,… Helena also adds several sections of harmony explorations in different tonal harmonies on amplified guitar. The music is free music searching its way, not in an organic way, as leaving it to evolve itself its own way, but more consciously stirring, guided by inner pulses, like a swollen lava finding its way, like moles in the ground, or even better described, as with movements like rhythmic ‘sound animals’, or consciously finding a way in and out whatever comes across…and this from the bass earth ground sounds, to more spatial cricks and noises. On track 10 for instance, the manipulated high notes of stringed vibrations sound like an orchestra on its own/ “Mar Amarga” is the only section with vocals, with semi-eastern sounds on the guitar, and with a soprano voice improvisation on top, just slightly exploring the same edge of experimenting with tonal variations, but also based in a very spontaneously inspired way on an idea of eastern music. Last track concludes with overloads of changed time schedules in the sound manipulations’ basics. A rewarding album. Limited to 500 copies.

Audio : "Idioblast", "Kretslopp Av Blod Och Stjärnor" (or here), "Nimis & Arx", "Certainty of the Neverseen",
"Multiplication Broken and Restored I", "Tidepools",  "Mar Amarga" (or here), "Purgatory Chasm", "multiplication broken and restored II","Vortex" & http://www.secondlayer.co.uk/tracks/p3072.htm
Homepage with audio : http://www.myspace.com/helenaespvall & http://www.cdbaby.com/cd/helenaespvall
Label info : http://www.museumfire.com/espvall.htm & http://www.museumfire.com/espvall & http://www.paxrecordings.com/Artists/Helena_Espvall.html
Other picture : http://www.gregweeks.net/helena.html
Other reviews : http://www.foxydigitalis.com/foxyd/review_detail.php?id=1763
& http://spidey.kfjc.org/index.php?p=1878
& http://www.forcedexposure.com/artists/espvall.helena.html
& http://www.secondlayer.co.uk/index/p3072.htm
Anticlock Rec.The Grey Field Recordings : hypnagogia (US,2005)***°'

Using the moment before falling to sleep as a time for deep concentration, is using one of the best conditions for more concentrated bundled thought creativity, outside language controlled thinking and too direct linear-logic thought preservation and repetition of causal recognition. The ability to use this moment as a state of consciousness is called hypnogogia.
It is a great association for a deliberate, or not conscious haunting music. The Grey Field Recordings is a project led by R. Loftiss, with the help of Justin Jones on violin and viola.  

Some backward effects, bells and voices immediately set the tone on the first track, “Bloodstream”. The next couple of tracks build up a variety of instrumental, rather experimental harmonic improvisations, with stringed instruments and voice and sound control. The strange harmonies build up the sphere, until “Forty White Horses”, a beautiful song with overtone overlaps, violin picking and playing and some bass, conveying an unearthly and still recognisable tone. This is followed, on “You have suffered” by some weird old LP recordings with voices, and some surreal tape experimenting. “Nancy’s Song to Charlie”, is a beautiful and very expressive spoken word poem with female whispery voice, reciting against chamber music, with other mixed harmonies and guitar. The poem is by Doris Lessing. Brilliant. Also “"House of a Grape" features an excerpt of prose by Kate Blalack. "Stars fall to earth” exists of crafty space-expanding mixed sounds as if recorded inside a huge stonemine gravel collecting pulsing machine with a band playing inside, and with beautiful string improvisations. “Passiflora” with acoustic guitar and some chamber music arrangements and some distorted guitar near the end, has similar spoken word poetry. Last track has very beautiful nature-sounds (like insects, short wave variations,..) made with electronica.
A recommended release with a handmade cover. Only 123 copies have been issued, so be quick !!

Info : http://www.anticlock.net/grayfieldrecordings.htm
& http://www.ethedrone.com/grayfieldrecordings/
Other review : http://terrascope.co.uk/Reviews/Reviews_April05.htm#GrayField
& http://www.digitalisindustries.com/foxyd/gfr_hypnag.html
& http://www.theunbrokencircle.co.uk/album_reviews_text_archive8.htm#Bookmark 5 (with audio) & download page

RENALDO AND THE LOAF :

Another extremely interesting group in a 'The Residents' (-a very interesting group that made a very individual serious "anti"pop with lots of humour- ) acoustic style is Renaldo & The Loaf. Music with lots of humour and incredibly all acoustic ! I made a seperate page about Renaldo & The Loaf. -click name to go there-



NURSE WITH WOUND :

Most eperimental of all groups (-not often acoustic, mostly just experimental sounds whatever that means ; let's call it "pure music" created from within sound and from the viewpoint of musical ears itself , almost painted three-dimensional sound) is Nurse With Wound.

My favorite releases of N.W.W. (all are not to miss for any open minded person) are :
The Sylvie and Babs Hi-Fi Companion (UK, 1988)***** : Residents like experimental outsider version mix of popular 50's/early '60's music. With cooperation of lots of artists.
Large Ladies with cake in the oven (UK,1993)***** : very experimental "filmic" tracks, with the contrasts of a horror movie. A nightmare's heaven in 3 dimensional sound.
Soliloquy for Lilith (Six songs for Lilitu) (UK,1988)***** : made with an experimental reverb machine: completely new music, with various layers of ever evolving structures. This crosses the line of clear lineair melodies because each sound disolves perfectly in the other one. Mindexpanding, hypnotic, meditative music. Extremely organical.
Homotopy to Marie (UK,1982?) ***°° : Tibetan cymbals drenged traumatic filmic experience.

Rock'n Roll Station now is reviewed on http://progressive.homestead.com/prog14.html#anchor_149

Obuh Rec.Ksiezyc (POL,2004)***°'

The single of Ksiezyc (=Moon) called “Nów” from 1993 for me was one of the best experimental voice arranged items I knew of (could be on the famous Nurse With Wound list of favourites, as a harmony seeking experimental item). It made me look for their mini-LP and for 2 tracks I found on an extremely limited compilation album. I am glad I now have their complete works together. The mini-LP was much more into minimal music with keyboards and voice, very nice as well. After my airplay the distributor decided to reissue the 10” mini-LP. The product description says : “Fairy-tales in the moonlight. Female voices, clarinet, saxophone, piano and organ. Inspired by minimal music, folk music and symbolic of the moon. Incredible!”. This LP isn’t as weird-harmonious as the EP, but has elements of it in some tracks. Most tracks have inspiration of new music with many minimal elements in the vocal and harmonies, with a couple of echoed high screamed or sighed harmonies, as instrumentally accompanied vocal music and instrumental keyboard music. It’s a shame that for this CD not all Ksiezyc work was compiled, because the 10” was only a bit over 38 minutes of material. The group hasn’t recorded so much more than what I've mentioned. It easily could have been added as bonus material.

Info & audio : http://www.obuh.terra.pl/ksiezyc.html & http://www.obuh.terra.pl/ksiezyc1.html
& with more audio : http://sklep.terra.pl/opis.php?lang=en&id=6902 tape : http://sklep.serpent.pl/opis.php?lang=en&id=84
LP : http://www.blrrecords.com/mp3.php

Review of the for me ***** single : http://www.info.net.nz/opprobrium/html/print3/reviews/p3_reviewsIL.html :

"A strangely fascinating & appealing mix of tape/string collage, haunting female vocals & clarinet that slip back & forth between modern & neo-baroque arrangements, that is absolutely unique to anything I've heard on a 7" since the salad days of Recommended. Polandwho could've known? Both this & the Atman 7" have copyrights from 1993, which goes to show that Obuh has had its finger on the pulse ofsomething, for a while now. Here's to 'em maintaining an active roster of national whack. Perhaps in a few years, PSF will also stand for Polish Strong Factory." -John Teats
* North East Indie Rec.Cerberus Shoal : Bastion of Itchy Preeves (US,2001-2003)****°

After starting, lifting off with a ceremonial like instrumental, Cerberus Shoal show their most accessible side, with beautiful vocal harmonies, with songs working within alternative semi-improvised instrumentals, with on the outside a rock structure. There's always something surreal in the group's sound, here a bit more (alternative) "rock" than usual, with some unusual rhythm loops on "Bogard the change". The songs are captivating, (rhythmically, and with their harmonies,..), a couple of times with a commune like inspired energy, elsewhere surreal musical like, but always with successful unique mood creation. The result is very accessible, even with some of the songs lasting around 10 minutes. As perfect as I think music should be. Most tracks are song orientated. Only the 8th track "Nonex" is an instrumental improvisation based upon complex rhythmic musical themes.
This release is one of the best starters for becoming another potentional fan of the group.

Info : http://www.northeastindie.com
1.Fatcat Rec.Animal Collective : Sung Tongs (US,2004)***°

This pretty freshly squeezed music juice playing bones for deuce comes from a combo that had already three releases before this. But this one might have received the utmost attention in production. The polyphonic arrangements remind me somewhat of Cerberus Shoal. Only this group embodies itself within stricter playing-garden-like powowow rhythms, a large portion of humoristic play, funny vocals, haha hand-clapping madness, with pleasant “surreal-animals farm” loops. The instrumentation alternates often, up into the insect crawling detail. The first four tracks, “Leaf House” , “Who could wind a rabbit” , “the softest voice”  & “Winters Love” are just brilliant ! Then “Kids on Holliday” slips itself into a more sleepy hypnotic style, like “Visiting Friends” a bit later too, hanging on one chord a bit longer as usual, with the second, pretty long, track, in a more minimal experimental mode which is a bit too repetitive to convince as raga or gaga, but I still can call it raga-gaga. “Sweet Road” in between this has again this rabbit-hole-pop-up like kind of humoristic approach, both rhythmically, and in vocals. At “We Tigers” it becomes humoristically and stylistically ritualistically. Also the following tracks keep this surreal mood, this time as a performance inside the hut amongst other crazed spaced-out dropheads. The concluding track,
Whaddit I Donne” is also really very funny, and original, for its invention of the wahwah-vocals!!
Really sad to say goodbye now. The wahwah is still wondering and pondering in my head.

Info with 4 soundfiles :
http://www.fat-cat.co.uk/fatcat/release.php?id=107&FATSESS=f85494815f1c87864791ad39a6e1b3a f
Other soundfragment : Sounds : “Kids on Holliday
Other reviews : http://popmatters.com/music/reviews/a/animalcollective-sungtongs.shtml
& http://www.musicomh.com/albums2/animal-collective.htm
& http://foxydigitalis.com/foxyd/animal_tongs.html & http://www.pitchforkmedia.com/record-reviews/a/animal-collective/sung-tongs.shtml & http://www.dustedmagazine.com/reviews/1439 & http://www.themilkfactory.co.uk/reviews/ac_sungtongs.htm & http://www.rockreview.org/animal.htm
An older song “Slippi 1" shows the group was more exp rock before, while this album is much more psych/folk. From “Here comes the Indian" "Native Belle" , "Slippi"
From Spirit They're Gone, Spirit They've Vanished / Danse Manatee : "Chocolate Girl" ,"Ahhh Good Country"


2.Paw TracksAnimal Collective : Here comes the Indian (US,2003)***°'

Having checked out this older Animal Collective release I think it would be a shame to neglect it. While I showed enthusiasm for ‘Sung Tongs’ I also had noticed some highlights and lesser brilliant moments in it, which didn’t make me listen to the album too often. But this older album seemed to be much more consistent material. The shop owner thought it would be too experimental for me, but I tried to explain that if experimental music is made conscious, and is expressing a world with recognisable as human expression, with an ear for harmony driven from an inner awareness and performed with structurally making sense… it was hard to explain, .. I personally don’t like vague uncontrolled coincidence and careless nonsense.  There must be happening something rich, like the creation of a world on its own. It seemed I was describing this Animal Collective’s album. To this there’s an inner ritual going on, in which I recognise the group, often like natural sounds in an environment, with manipulated sounds, acoustic ramblings and, and some keyboards improvisations, then going more berserk controlling all the forest’s animals and its possessed ghosts. This is beautiful and rewarding experimental music with some stranger spheres as well, that still invites well for repeated listening visits.

Audio :  "Native Belle","Slippi"
Label info : http://www.paw-tracks.com/edit/catalogPops/paw1Pop.htm
Other reviews : http://www.dustedmagazine.com/reviews/816 & http://www.ab-cd.com/icbin/media/PAWT1.2.html
& http://www.htrecords.co.uk/results.php?labelid=3782
& http://www.stylusmagazine.com/reviews/animal-collective/here-comes-the-indian.htm
& http://citypages.com/databank/24/1178/article11365.asp & http://www.almostcool.org/mr/66/
& http://www.z95.com/album/644332/review & http://www.epitonic.com/...
& http://www.carparkrecords.com/animal_collectives_CD.html
& http://www.fakejazz.com/reviews/2003/animalcollective.shtml
Interview : http://discorder.citr.ca/features/03auganimalcoll.html
Big Balloon Music       The Red Masque : Death of (EP) (US,2001)***°

Imagine a 70's progressive group, having experienced the eighties too, with a female vocalist singing now a bit more like Siouxie on "Join Hands", expanding their territory with an avant garde open structure, ever evolving and improvising, the songstructure keeping it together, with electric guitars and drums and voice building up tensions, with avant garde piano. That's how I describe the first track, "Tidal". On the next track the organ is playing a destructive counter-part to the electric guitars outburst, and the electric guitars play in a cosmic music mode in an infinite matter. The drums play at first free jazz like which fits perfectly. A 'Krautrock' like experience. Psychedelic "out"worldly. The third track brings back to earth with a "song", "Moon Falls", with hard prog rock guitars influences, theatrical church organ, and quiet passages, in a mood like some better classico-metal releases had (it remind me especially at the Greek metal band 'En Garde', but who will remember them ?), but then in a progressive improvisation mode and not with a metal edge.
I am wondering if the voice has some tendency towards being just on the edge of singing out of tune, still giving it an even more odd  character. This release is more 'avant garde' compared with the second release. It's good, but the second release has improved and matured with an even more structured sound. I suggest to start with that release first.

Latest album is reviewed at http://progressive.homestead.com/prog8.html#anchor_106
1.Misra Rec.Volcano the Bear : The One Burned Ma (UK,2000)***°

This album is more like a soundtrack with a certain improvised minimalism with somewhat surreal singing along voices. Only “Wood Frong Pond” has a more experimental, compact and structured song strength, comparable to for instance early-and-acoustic HNAS (or some more compact song-structured Nurse With Wound). 

Audio : "Arc Felt","Uh-Oom"
Info : http://brainwashed.com/vtb/rel-1burnedma.htm
Other review : http://www.aural-innovations.com/issues/issue12/vtb02.html
& http://www.fakejazz.com/reviews/volcano.shtml
& http://www.pitchforkmedia.com/record-reviews/v/volcano-the-bear/one-burned-ma.shtml


2.World Serpent distr.Volcano the Bear : Five Hundred Boy Piano (UK,2001)****°

This album is more like how I like Volcano the Bear Best, like surreal theatre music, structured but partly improvised, progressive and adventurous, with acoustic art harmonies. Embedded into songs or with vocal improvisations and harmonies, the music works like a story about a world you could never imagine, but which still imaginable with some help of a musical expression of it. Unique. Some tracks are more experimental and in a free form, but they convince me as well, because also there are a lot of solid things happening.

Audio : "Five Hundred Boy Piano"(or here),"I'm the mould","Hairy Queen"
Info : http://www.brainwashed.com/vtb/rel-500boypiano.htm
& http://www.brainwashed.com/common/htdocs/discog/ud500.html
Other review : http://www.losingtoday.com/reviews.php?review_id=495&band_alpha=v
& http://spidey.kfjc.org/index.php?p=740
& http://www.artistdirect.com/nad/store/artist/album/0,,1747874,00.htmlnext album here->

CERBERUS SHOAL :



H.N.A.S. :

Most recommended H.N.A.S. (Hirsche Nich Aufs Sofa / = "no deer in the sofa !" ) release is this one :
(style is completely experimental, but acoustic, with lots of ideas, female voice, very filmic as well ) :




Go back to "normal" over to the next review page :
"pre-Rahaelite associations" ->




Any recommendations of a other similar releases ? Please E-mail me to inform me.

Go back to
"Psychedelic Folk" index page
or
go back to the
more general index page


Reviews of challenging and mind expanding music with acoustic foundations :

The Red Masque (2 x), Cerberus Shoal (6 x), Helena Espvall, H.N.A.S., Ksiezyc,
Renaldo & The Loaf, Nurse With Wound, Animal Collective,
No Neck Blues Band, Volcano The Bear (5 x) The Grey Field Recordings
Big Balloon MusicThe Red Masque : Victoria and the Haruspex (UK?,2002)****°

Not more than once a year or in a few years am I confronted with a release about which I immediately say : wow, what a monster, this definitely is a classic on its own, a must to hear. This is such a release.
There are not many music examples with basically an acoustic character combined with an avant garde open structure. Recently the 'Hirsche Nicht Aus Sofa' releases (from the eighties) have been reissued, with "Küttel Im Frost" and also "Melchior" as highlights.
This CD starts very experimentally, covering all kinds of genres listed in the famous Steven Stapelton list of collectors items that crosses musical borders (with hints to Saint Just, Opus Avantra,..), without being just avant garde. Instead this is a highly listenable / enjoyable release. This first track, "Haruspex" is structured in an improvisational manner and should interest Steven Stapelton for sure. This might not be the easiest / most accessible way to start a CD but still is tremendous (with its contributing el.guitars, organ, female voice,..) and beautiful all 25 minutes.

After this track the music changes into more easily recognisable structured music. "Birdbrain" with organ, very up driving rhythms, electric guitar outbursts, heavy female progressive rock voice (hints to Julian's Treatment and the likes), is a track that gives me shivers all over my back. This is mindexpanding and ''kundalini' stimulating music with beautifully varied, quiet passages, recalling all my favourite 70's prog groups (Saint Just indeed, but with a voice with power). "Afterloss" starts wonderfully and harmoniously with acoustic guitars / harp fingerpickings, with addition of the heavenly powervocals of Lyniette Shelly, accompanied by flamenco like acoustic rhythm guitars / more fingerpicking and harp. Also the melodies / workouts are speaking very much to the heart, in a way like flamenco does. "Cenopath" is a very beautiful harp track (dedicated to a member (Nathan-Andrew Dewin)'s brother Alan)
.
A must be heard release. Unmissable in any open minded progressive music collection.

Remarks at the radioshow : "An unknown classic of progressive / Psychedelic, + some not difficult to appreciate free but harmonic improvisations, still in balance with what can be carried from a heart's expression, and music with an acoustic foundation. Best item from 2002 ! Possibly not influenced by 70's classic avant garde progressive items (Saint Just,..) but with the same quality of music as result. Singing mood also reminiscent at Siouxie and The Banshees' "Join Hands" period, but somehow more refined, with wider ranged expression and instrumentation."

Audio : "Haruspex