= DECEMBER 2007 Quick Links - JPT Scare Band · Featuring members of Sapat, Virgin Eye Blood Brothers and Magik Markers, this sprawling megalith of sound contains six epic ... down

Terrascope Online Reviews for December2007 http://www.terrascope.co.uk/Reviews/Reviews_December07.htm#JPTS

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= DECEMBER 2007=

Quick Links

W r i t t e n b y :

Sapat

S i m o n L e w i s ( E d i t o r ) Valley of Ashes

P h i l M c M u l l e nJPT Scare

band

J e f f P e n c z a k Seventh Ring of Saturn

Marble Sheep

We Are All

Circling TheStars

The Donnas

Blow Your Cool

The Purrs

Bardos State

Hop Frog

Refrigerator Mothers

Post Asiatic

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SAPAT – MORTISE AND TENON(LP from www.siltbreeze.com) Already booked to play the next Terrastock, as well as living andworking in the area, Sapat have a wide sonic palette, sometimesdelicate and soothing, as on album opener 'Vulvasonique', the soundof gently lapping waves as evening falls. Following on 'Maat Fount'adds a creeping tension to the proceedings, with droning violins anddistant percussion the perfect foil for the repetitive guitar line.Halfway through the band turn up the volume with some excellentguitar work underpinned by a glorious swell of drone, that lifts the


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music to another level. Third track 'Dark Silver' is driven by some Can-like drummingallowing the guitars to roam free around the vocal lines, some lovelyreed work adding to the textures. Finally for side one 'Baal’s Balls' isa more drifting psychedelic piece, the musicians floating aroundeach other to create a truly beautiful and organic slice of sound. Over on side two, the band increase the Can comparisons on'Lovely and Free', especially the vocal style, which brings to mindearly Can classics such as “You Doo Right”, although the band makethe style their own with some assured and imaginative playing.Let's hope they play with this intensity at Terrastock, cos if they dothey are gonna tear the place apart. Following such a fine piece of music could have been a problem,but the band opt for a change of pace as Fripp-style guitar and freeflowing drums create a different atmosphere on 'Who You Wit', thesong slowly evolving into a hypnotic percussive freakout. Finally, the gentle sway of 'Fante' reminds us the sun is rising andit is time to leave, refreshed and energised, ready to face the worldwith new eyes, the band conjuring up one last blast of cosmic energyto help us on our way. (Simon Lewis)

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VALLEY OF ASHES – CAVEHILL HUNTERS’ ATTRITION(Triple LP on Black Velvet Fuckere) Featuring members of Sapat, Virgin Eye Blood Brothers andMagik Markers, this sprawling megalith of sound contains six epicimprovisations spread across six sides of heavy black vinyl. On side one ‘Yellow Fog’ is a mainly acoustic piece that slowlycreeps into your brain, hypnotising your senses with the samefeeling you get when you stare at the sea for too long. Flip the discover and ‘Cavehill Hunters Magickian and a clock of spoons’ is amore cerebral affair, with a fucked up electric guitar at its heart, thepiece building into a cosmic howl at the moon. This is possibly thestrongest side of the album, the players working together to find thecentre of the storm. Contained on side three ‘Bogbody Mastodon’ continues the tribalstomp, including some sparks of synth, feedback and buried vocals,all of which differentiate the piece from the previous album andadd more textures to the sound. Five minutes in the band slowthings down to allow for some drifting guitar and chanted vocals,but this quietness is quickly overwhelmed as the tension is racked


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up again into a kraut-rock frenzy, before the band put the brakes onagain for some west coast psych manoeuvres, brilliant stuff. Having listened to this several times, the thing I like most about itis that the piece you are listening to becomes your favourite, eachside engaging the listener with its presence. Side four opens with some beautiful violin playing, a gentle droneinfluenced backing adding to this moment of stillness as ‘BogbodyTapas’ slowly draws the listener in. Almost without noticing thepiece dissolves into a more free-form section before a poundingdrum pulls the musicians together, the violin still snaking its waythrough the sonic forest whilst the drums send prayers to the oldgods. For the first half of side five ‘Kentucky Chrome’ is a wyrd-folkdelight, a chattering acoustic improv in the style of Jewelled Antler,but then the band pull together to allow a plaintive electric guitar towail and moan across the music creating a different but equallyintriguing atmosphere. This then breaks down as you hear theplayers talk to each other, the music set to random before becominga wall of noise that is sure to scare away any evil spirits that may belurking in dark corners. After such strangeness ‘Yellow Smoke’ has a more human feel,the stringed instruments engaging in a stoned hoe-down completewith more unfathomable vocals and demented violin. Of course, thisbeing Valley Of Ashes, the music is slowed down and messed withuntil they finally come together again for an intense finale, amagical incantation to the rising sun, or so it seems. (Simon Lewis)

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JPT SCARE BAND – JAMM VAPOUR( www.jptscareband.com ) There are moments in any music fan’s life when the time is right tostop leaning forwards scratching one's chin thoughtfully and letdown your hair (whether metaphorically or otherwise, it doesn’tmatter), strap on an air guitar and RAWK OUT!!! You’ll already know and love albums like Scorched Earth’s ‘Fed ToYour Head’ – now we have the JPT Scare band’s ‘Jamm Vapour’ toaccompany the trip. Where Chuck ‘The Horse’ Kowalski, Randy ‘TheSnake’ Kyser and Jay ‘The Prophet’ Pharaoh (collectively known asScorched Earth) were overtly psychedelic in their stretched out,burning kaleidoscope of cosmic guitar sounds, (J)eff Littrell, (P)aulGrisgby and (T)erry Swope are very much a traditional-soundingblues-rock rock and roll power trio in the vintage 70s mould, with


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Swope’s guitar firmly to the fore in every sense. Having long ago scratched my much-thumbed copy of their ‘AcidAcetate Excursion’ LP from 1994, it’s been a while since I pluggedmyself into Terry Swope’s world of extended stoned jamming – andI have to confess I’ve really missed it. Comparisons with Terry‘Strange’ Brooks and Bari ‘Outskirts’ Watts are inevitable, butnothing to be ashamed of: these guys are rightly revered, andSwope is up there amongst the best of them. The new album consists entirely of the band’s own songs, eachone extended, stretched and extemporised upon in fine style. Fiveminutes (halfway) into the opening song ‘Amazons’ there’s ascreaming, glass fingernail guitar solo which just demands faces tobe pulled. Talking of which, the next couple of slowed downnumbers, ‘Ramona’ and ‘Rainbow Bridge’, both owe a nod ofacknowledgement at least to champion gurner Robin Trower. Theeleven minute long ‘Gelo Jam’ is basically an excuse for an extendedSwope guitar solo, while ‘Hungry For Your Love’ which closes thealbum is a riff-heavy crowd-winning rocker typical of pub bandseverywhere. Be warned however: it features a bass solo.... If this was an original early 70s stoner rock band, this albumwould be worth hundreds of your favourite currency by now. That'sno reason at all not to enjoy it for what it is though: pure,unadulterated fun. (Phil McMullen)

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THE DONNAS – BITCHIN’(Purple Feather)

The Donnas are another victim of the major label machine: apromise of bright lights, big city, video and tour support and onemajor perk that they probably hadn’t counted on when they madetheir pact with the devil – a label-imposed “producer” (ButchWalker), whose claim to fame was a bunch of albums nobodybought and knob-twiddling chores on albums by Pink and AvrilLavigne, second-rate Donnas wannabes. Walker sucked all theirenergy dry and foisted upon us a career-threatening piece ofgarbage with all the excitement of a soiled sanitary napkin. (Ifyou’re a glutton for punishment, you can read about ‘Gold Medal’elsewhere on the 'net.) Naturally, the album didn’t sell, so the label,in their infinite wisdom, concluded the problem was in the girls’songwriting, so they suggested they work with “outside agencies” (toquote All Pacino in ‘Serpico’) and get other songwriters to help themcreate a poppier album. Luckily, the girls stood their ground anddecided not to exercise their option for a third album. So they wentoff, formed their own label, hired producer Jay Ruston, and


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bounced back with ‘Bitchin’,’ which, in a word apparently liftedfrom hair-metal speak, is “bitchin’”!

Taking to heart the advice of Eddie & The Hot Rods, whofamously suggested, “Don’t take no shit from no one/Just keep onhaving fun” (cf., ‘Ignore Them (Still)’ from ‘Life On The Line’), thegals open with a wailing siren to announce their return from thewreckage of ‘Gold Medal’ on the title track, an anthemic call to armswith power chords a-blazin’ and fists a-pumpin’, and quite frankly,it’s not unlike the opening salvo from one of theirheroines/mentors, Girlschool (check out the title track to theirdebut, ‘Demolition’). Another heavy influence on the Donnas’ soundis Joan Jett, and the rebel (ca)rousing, ‘Don’t Wait Up For Me’ hasJett’s name all over it. In fact, the melody line is essentially arewrite of ‘I Hate Myself For Loving You,’ which Joan co-wrote with Desmond Child, with whom Ruston just coincidentally(!) happensto have worked alongside on numerous albums, from the ‘AmericanIdol Season 4’ comp to Meatloaf’s ‘Bat Out Of Hell III.’ One thing’sfor certain – Ruston wasn’t shy about pumping up the volume onthese tracks – this album is as loud as hell, particularly TorryCastellano‘s wall-rattling backbeat, which should also probably notcome as much of a surprise, considering that Ruston has also playeddrums and coordinated drum programming on some of his projects.

Allison Robertson’s big phat, 80’s-styled guitar riffs on ‘Don’tGet Me Wasted’ might remind you a little of toe tappers from TheFixx and A Flock of Seagulls (don’t laugh; humor me and dig outtheir LPs and listen to those guitars!), and her guitar playing is ascrisp as ever on her solos on ‘Save Me’ and ‘When The Show IsOver.’ ‘Here For The Party’ tears another page out of Joan Jett’sGary Glitter Songbook right down to the “Oh, yeah!”s lifted straightout of ‘Do You Want To Touch Me.’ ‘Better Off Dancing’ is anotherhigh energy, pogoing riff-o-rama, with anothershout-it-from-the-rooftops, anthemic chorus, with particularlypotent basslines from Maya Ford.

The girls’ heavy backbeats have often been compared to theballs-to-the-wall, gutter-dwellin’ cock rock of heavy metal machoposeurs like AC/DC and Kiss, and the hot throbbin’ ‘Love You Til ItHurts’ is another nod in that direction. The Donnas have also had alot of fun dropping thinly veiled drug references into their lyrics(“smoking cheeba” anyone?) and the foot-stomping ‘Smoke YouOut,’ with references to “shotgunning” and getting higher will havecoeds snickering between bonghits all over the world. They alsodeliver what may be the world’s first text message rock song with‘G-I-R-L T-A-L-K,’ a ripsnorting freight train of a song that barrelsthrough everything in its path.


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So the gals return with a vengeance, kicking ass and taking

names, and deliver the best hard rock album of the year andanybody who still thinks chicks can’t rock, stick this up your ass andcrank it up to 12. (Jeff Penczak)

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THE SEVENTH RING OF SATURN – S/T(LP/CD http://cdbaby.com/cd/tsros ) As they often say during football commentaries "It’s a game oftwo halves’", and it certainly is with this glorious slab of vinyl, withside one containing some sweet psych-pop nuggets, whilst the flipside has some very psychedelic spaciness running though itsgrooves. I guess this analogy may be slightly stretched with the CDnow, but hey, I’ve started now. Opening with the delightful ‘In Time’, the band have a fine senseof melody, the song up there with the likes of Tyrnaround or ThePetals, complete with a lysergic coating of perfect hue. Continuingthe theme, ‘Colonel Green’, repeats the trick, you can almost see theoil blobs on the wall. After this excellent brace, the band step intocovers mode, getting to grips with songs by Vangelis Papazoglu (acomposer from the 30’s) and George Harrison. Starting with‘Yedikule’, the band have turned the song into an eastern fleckedguitar workout, the song reaching the inner corners of your mind,an interesting change of pace that lifts the album up a couple ofnotches. Following on, the cover of ‘Sour Milk Sea’, takes us back tothe psych-pop and will have you grooving ‘round the living room. Finally, ‘Alice Sunshine’ slows everything down, a dreamy slice ofneo-psych that presses all the right buttons, with flickering synthand hazy flute adding to the magic. Right, I’m off to get somehalf-time oranges, see you on the other side. As though they have undergone some strange mutation, side twosees our heroes leave the planet and head for distant galaxies, withtwo long deep space improvisations. Opening with a dustfall ofelectronics, treated guitar, and all manner of scrapes rattles andnoises, ‘The Cassini Division’, is a haze of noise that fills the room,the band obviously enjoying themselves immensely. With a briefnod to side one, ‘Pillsbury Palace’ begins in 60’ psych mode, anotherperfectly formed pop gem. This time however the band have filledthe middle of the song with a long intense drone, (sounding morelike My Cat Is An Alien than The Beatles), a sound so dense, yetdistant, it threatens to engulf the room entirely, turn it up and seewhat I mean. Then right at the end the song returns as if it hadnever left, a shimmering guitar solo spreading light as the band


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finish of in grand style. An away win and no need for penalties.(Simon Lewis)

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MARBLE SHEEP – MESSAGE FROM OARFISH(CD / LP from [email protected]) Fourteen albums into their musical journey (which means I stillhave plenty to discover), Japanese psych gods Marble Sheep seemto have ingested the very souls of MC5, The Stooges and SpacemenThree and have created a monster rock record that needs to beheard by every grunge loving noisehead in the universe. Taking no prisoners, the band launch proceedings with the garagerock stretched out forever masterpiece that is “Tears”, atwelve-minute sonic assault of the highest order. Just turn up thestereo and let it wash your troubles away, brimming with fuzzedguitar, flashes of melody and a velvet heart. After this barrage style opener, the band decides just to pummelyou into submission with a collection of shorter tracks, each one asnoisy as the last. Take “Mana”, the second track on the album, ashort stab of brutal guitar fury that would be perfectly at home on aMudhoney album, the distorted vocals almost lost under the heavyriffing. Next up, “raise the dead”, sees all the musicians racing eachother to see who gets to the end of the song first, the effect is akin toMotorhead falling down the stairs whilst playing their signaturetune, the guitar solo ripping the skin from your skull in the process.Without any pause to catch their breath, the band then leap into thesonic abyss that is “Skull Cool”, a Rocket From The Tombs style riffthat staggers like a drunk yet maintains a fucked up dignity. I guess using 2 guitars, 2 drummers and a bassist practicallyguarantees that you are going to sound like an express train about toderail. This album however, has an immense sonic beauty that Ihave not come across for a long time, and credit must go tomainman Ken Matsutani whose magnificent guitar and vocals holdthe whole thing together. As vicious as anything on the album is the garage anthem“Egyptian Queen”, a song to scare the dead with, whilst “It’s Time”consists of a hammering snare drum and muttered vocals that getright inside your head before the band finally slow thing down. Yesfolks, they do give you a chance to breathe, although this is allrelative as “Saviour of the Street” has plenty of noise wovenamongst its mid-paced groove. To end it all, the band go for a good old fashioned freakout as the


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nine and a half minute “From The Centre” pours from the speakers,the bass line so mean it is probably mugging your granny as youread this. Probably the most psychedelic thing on the album, themusicians detonate your mind as they blast themselves intohyperspace, leaving a trail of bleeding ears in their wake, a goodtime had by all. (Simon Lewis)

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WE ARE ALL CIRCLING THE STARS – VARIOUSARTISTS(2xcD from www.cosmosrecording.com) Whilst not as underground or groundbreaking as the nowlegendary “Hand/Eye” compilation from a few years back, thiscompilation is an important document containing the cream ofartists that walk the narrow forest path between singer/songwriterand wyrd-folk strangeness. A fine way to start, the countrified splendour of The SkygreenLeopards is the perfect welcome, as “Sally Orchid” opens up theroom with its perfect harmonies and laid back vibe. Following onWorn Out Corduroy keep the laid back feel going on the lovely“Survivor”, complete with a guitar that reminds me of the firstT-Rex album. With her feet in the singer/songwriter camp, DianneCluck has a haunting voice that is perfectly served on“Dilapidalliance”, a truly beautiful song. With a twinkle of bells andsome accomplished guitar playing, Francis Conway introduces usto “Since I laid My Burden Down” a traditional song given thesmoky blues treatment, guitar and vocal acting with one voice. Once a member of The Beta band and definitely ploughing hisown furrow, Lone Pigeon is an acquired taste worth discoveringwith “magic Pool” being a reasonable example of his work. Gentle asa falling leaf, Beth Jeans Houghton has a voice you could fall inlove with, the glorious “Milk Bottles” sending shiver up the listeners’spine every time it is heard. On a different path, the Dylanesque“Monkey Mind” is a lo-fi stomp that sounds great courtesy ofDiamond Caverns, whilst the raindrop beauty of “I KnowYou”-Booger Red will stop you in your tracks. Sounding not unlike early Al Stewart, The Singleman Club,does the sad bedsitter thing on “Wings”, the lyrics as important asthe playing. The quality of Elaine Palmer is probably well knownto Terrascope readers and she does not disappoint on the wistful“First Light”, her voice as crystalline as ever. Picking the pace up,Rich Amino has a warm rich tone on the countryish groove of “DoIt Alone”, before the achingly gorgeous sounds of David ThomasBroughton take us into far stranger pastures, as they dissolve into


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a drone of noise. The rather excellently named Bibles of Twang display a melodicheart as they recount a tale of injustice on “Good Dogs”, a trait alsobelonging to Jo Foster, whose “Dead Songs Of The Sea” is one ofmy favourite songs on the album. To close disc one, Magic armdisplay a twisted pop ambience on “People Need Order” a morestudio produced piece than most on the album, sounding like astrange beach boys outtake. When I started writing this review I had not planned to mentionevery song individually, but I genuinely do like everything on thiscompilation, so lets move on to disc two. The French pop splendourof Helene Renaut kicks of disc two in style, the sweet as honey“Bumblebee” oozing class. Probably one of the most well knownartist on the compilation King Creosote has been a favouritearound here for a while now, something confirmed by “RussianSailor Shirts”, a song containing lashings of melody, charm and thelyrical dexterity that I love so much. Adrian Crowley is anothername that should be familiar to you all, even more so after you hearthe majestic folk of “Brother at Sea”, the tale of a long sea voyage. I was not familiar with Mary Hampton before I heard thiscompilation, something I need to rectify since listening to herrendition of the traditional “Silver Dagger”, her beautiful voicewringing every drop of sadness from the song. Working under thename Hush Arbors, Keith wood has already created a fine body ofwork (as well as playing a Terrastock Tea Party) and “Bless You” isdefinitely included in that collection, a timeless guitar motifoverlaid with delicate vocals creating a tune of gossamer delicacy. With a sunny West Coast vibe, the chiming guitars and soulfulharmonies of Papercuts could be the perfect antidote to the winterblues, although the lyrics of “Sandy” hint at a darker tale. Wearingtheir psychedelic badges on their lapels, Yellow Moon bandinject a sudden change of pace to the disc with wonderful“Lunadelica”, an Airplane styled instrumental with some ringinglead guitar and a folk-rock heart. Psychedelic in a different way “AskThe Sun” has a shimmering ambience and floydian percussion,whilst the vocal style of Mark Meon reminds me of Kevin Ayers inits lazy delivery. Featuring some low-down dirty guitar playing “Viva Polska” is amagnificent blues workout courtesy of Major Dawson, the musicmatched by the vibrant vocal delivery. Filled with acousticloveliness, sweet recorders and what sound like a duck but probablyisn’t (more likely a percussion instrument), “Wade” is a gently


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swaying psych folk gem from Chinatown Bakeries, a song awashwith innocent charm. Always worth listening to Donovan Quinn remains at the topof his game on “Rabbit Tracks”, his vocals full of emotion, theplaying exemplary. Recorded live “Five Faces Blowing In The Wind”showcases the ragged charms of W-S Burns, a mesmerisingexercise in minimalist folk. Possibly the strangest track on the set,“What Are We” is a wyrd folk spiritual, that sound as if it wasrecorded in a sacred cavern. With a droning backing casting a flickerof light onto the walls, Sal Paradise sings over the top, somebackward guitar adding tension to a very atmospheric piece.Equally atmospheric is the version of the traditional “The CruelShip’s Captain” performed by Benjamin Wetherill, the vocalperformance almost lost under the twisted sounds that weavearound it. To round thing off, Laughing Windows, indulge in somespookiness on the long “Ruin”, the dark ambience beautifullyconstructed, with a throbbing bass pushing the piece forward, somedelicate backing vocals offering brief flickers of lightness. So, there you go, one of the best compilations I have heard in awhile and a fine place to start if you are overwhelmed by thenumber of artists working in this wide ranging genre. (SimonLewis)

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VARIOUS ARTISTS – BLOW YOUR COOL(Psychic Circle) Once again, Psychic Circle returns to the well for 20 more“prog/psych assaults from the UK & Europe,” with Nick Salomantaking over the selection process from Jamie Romer, who curatedthe initial salvo in the prog/psych series, ‘A Visit To The Space ShipFactory.’ And while Romer’s selections tended towards the bluesierend of the prog spectrum, here Saloman highlights a heavier rocksound that further clouds the “progressive” boundaries. The setopens with Paradise Hammer’s ‘To Live,’ which, despite weak,overly theatrical vocals, should appeal to Styx fans. ‘Turn Me Loose’offers a taste of Dutch prog from Barry Freeman & Strange Power.It’s a hard-driving organ grinder, which is to be expected since itwas written by the band’s organist, Rik Ellings. Most readers will nodoubt recognise The Foundations from their monster hits, ‘Baby,Now That I’ve Found You’ and ‘Build Me Up Buttercup,’ but nothingcould have prepared you for the treat that lies within ‘I’m Gonna BeA Rich Man,’ one of their final singles, released right before theirsplit in 1970. It’s a scorching soul stomper with a swirling organ


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background that even Saloman admits could have sat on one of hisSoul compilations for the label. The Scottish Dream Police are responsible for the heavygarage/prog of ‘Much Too Much,’ although they’re probably morefamous for their pedigree, which included future members ofMarmalade, The Sensational Alex Harvey Band, The Average WhiteBand, as well as Paul McCartney’s late 80’s backing band! Ourmusical journey around the continent settles in Italy next forTritons’ ‘Drifter,’ a heavily phased maelstrom of swirling keyboards,guitars and wall-rattling drums, the latter courtesy the transplantedex-skin pounder for Atomic Rooster, Ric Parnell! More family treepicking is in store with Mogul Thrash’s ‘Sleeping In The Kitchen.’The track itself is rather lightweight, airy-fairy pop, which is all themore disappointing considering the incredible personnel involved,including Colosseum’s guitarist, James Litherland, Family/KingCrimson/Asia bassist, John Wetton, Eclection’s Michael Rosen anda horn section that hooked up with Dream Police’s guitarist/singer,Hamish Stuart to form The Average White Band! Ferris Wheel is another band more famous for theirpersonnel than their own records, although ‘Can’t Stop Now’ is adelightful, Motown-inspired stomper, a la Diana Ross & TheSupremes. A young Linda Lewis provides the white hot vocals, withfuture Foreigner drummer, Dennis Elliott and former Blossom Toesguitarist, Jim Cregan (who would eventually marry Lewis and frontRod Stewart’s most successful line-up in the late 70’s/early 80’s)rounding out the crew. If your knowledge of French prog begins andends with ultra prolific bands like Magma and/or Ange, then youmay enjoy turning on to the Triangle track which gave thiscompilation its title. It’s an elaborate, Procol Harum-styledextravaganza. The Rattles were Germany’s top beat group of the 60s,releasing nearly 10 albums and more than 30 singles and evenopening for The Beatles and The Stones. Their final UK single,1971’s ‘Devil’s On The Loose’ is a head-rattling, punky fist pumper, aproto-metal firecracker with a sound that was closer to the sturmund drang of future German metal superstars, Scorpions than thebeat music they began playing at the Star and Cavern clubs inHamburg.

Fans of the Saloman Psychic Circle series (say that four timesfast!) should note that, to my ear, most of these tracks fall into thehard rock vein, with only the occasional keyboard flurry tilting themin the prog direction. Even Paul Ryder & Time Machine’s ‘If YouEver Get To Heaven,’ one of my favourite tracks in the set, strays far


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beyond the progressive remit that one would expect from thecollection’s subtitle. Saloman himself describes it accurately as “aperfect blend of glam rock and psychedelia” and the tune has alsobeen likened to “T. Rex jamming with Syd Barrett.” I can definitelyhear this tucked away on a Bolan B-side, but “progressive”…? Thatmight be stretching things a wee bit. And Swegas’ ‘What’Ya GonnaDo’ is strictly for fans of horn bands, as Saloman again admits “theirsound was a sort of English Blood, Sweat & Tears meets Chicago.”What they’re doing on a “prog” comp is a question you may findyourself asking too often while listening to this set.

So, ultimately, there’s a bit too much throat-shredding, ultra

macho posturing for my taste, with few (stereo)typical progtrappings: elaborate arrangements, lengthy keyboard breaks,obscure, effulvent lyrics, etc. to recommend this to hard coreprogheads, although obscurists will delight in ‘You Are All Princes,’the flip of the debut single from ultra cult prog trio, Egg. The bandreleased an eponymous album in 1969 as Arzachel (actuallyrecorded when they were known as Uriel and Steve Hillage wastheir guitarist) before releasing three albums under their currentmoniker. The track features the deliriously flamboyant keyboardwork of (the other) Dave Stewart, who would go on to enjoy aprolific career with National Health, Matching Mole, and Hatfield &The North, among many others, and the economic drumming ofClive Brooks, who later played with The Groundhogs. Read the fullstory of Egg here, in the Terrascope's archive interview with DaveStewart: http://terrascope.co.uk/MyBackPages/Dave_Stewart.htm

Overall, while not an entirely successful set this time out,

‘Blow Your Cool’ might still appeal to musical genealogists whoenjoy tracking down the roots of members of their favourite bands.(Jeff Penczak)

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THE PURRS – THE CHEMISTRY THAT KEEPS USTOGETHER (CD www.thepurrs.com) The Purrs debut album released in 2005 was one of my favouritealbums of the year, and has stood the test of time, in the fact, that itstill gets regular space on the CD player. It was a delight, therefore,to be sent their follow-up album, although there was always thatnagging doubt that they would be unable to compete with theirdebut. Thankfully, there is nothing to worry about, all’s well in thePurrs world, the instantly recognisable sound still intact, althoughthis time the songwriting seems sharper and more assured. After the scene setting opener, filled with that lovely guitar


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jangle, the album settles into its groove with “Frozen In Time”, aworld weary song with a hint of Dinosaur JR running through itspristine melodies. Opening with a glorious riff that truly sparkles,“She’s Got Chemicals” brings back all those Church comparisons,although the band have an identity of their own these days, the songa perfect example of why you should like them. As with the first album, it takes a couple of plays to attune yourears to the bands sound. When you do, however, songs like “Yes IDo” reveal a layered sonic palette, creating strange harmonies,whilst “You Don’t Look So Good” has all the complex simplicity of aLou Reed song, including the lyrical bite. Mixing sweet melody with lyrical bile seems to be a favouritetrick of the band and there is no better example than the sweet popditty “Junk & Jil”, the lyrics taking the song in a darker directionwhilst a saccharine guitar motif makes you smile. After eight tracksof warped pop jangle, the band make a detour for the 8 minute“Disconnected”, allowing the band to lose themselves in their music,something they do to great effect with some magical guitar playingelevating the song into the sky. Check out the track “creepingCoastline Of Lights” on their debut EP (2004), for another epicguitar burnout. Leaving the best to last, the final two tracks are Purrs classicswith “If It’s So Right How Come It Feels So Wrong” sounding like itcould be a live killer, all sleazy riffs and slowburning rhythm.Meanwhile, album closer “Rainbow Afternoon”, is a world-wearystatement of intent that ends the album with flawless downbeatsplendour. It is refreshing to see a band who have worked so hard, financingand distributing their debut album, finally get some reward. Thisalbum should continue their upward spiral and hopefully makesome new fans along the way. (Simon Lewis)

BARDOS STATE – SIKHARAHOP-FROG’S DRUM JESTER DEVOTIONAL – BETS OV 1.REFRIGERATOR MOTHERS – GHOSTS OF A PRIMITIVEWORLDVARIOUS – POST ASIATIC (LOST WAR DREAM MUSIC)(CDs from www.urckrecords.com) Mixing eastern soundscapes, percussion and chanting with somerambling Krautrock sensibilities and a psychedelic heart, these fouralbums showcase some of the finest sonic freakouts currentlyavailable. Featuring the talents of Scott Nydegger, Yann Goeffriaud and


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Gustavo Costa, Bardos State is a tribal percussion project that hasa ritualistic feel, complete with chanting voices, the whole thingmade considerably weirder by the liberal use of synths, givingthings an acidic edge. One listen to opener “Bardos”, will convince ofthe magnitude of this disc, the music dragging you into a placewhere time dissolves and nothing is certain. Throughout the album,the drummers keep it tight, whilst the synths and voices destroy thesenses in beautiful fashion, until the low drone/percussion piece“Pure Lands” offers a place to touch down. Citing world music and artists such as Bauhaus, Skinny Puppy,Suicide and King Tubby amongst his influences, Jeremy Morelockexplores all these areas as Hop Frog’s Drum Jester Devotional.The album itself is brimming with repetitive beats, strangeinstruments, and an improvisational bent that allows the music tochange slowly with hypnotic splendour. Standout tracks include theheavy beats of “Eastern Spleen”, the long trance of “Germ Of Sorrow2” and the gentle ambience of “Cherries of War”, but there is not aduff track to be found anywhere. On The latest album by Refrigerator Mothers, the instrumentlist literally includes the kitchen sink, which fits perfectly when youhear their improvised soundscapes, particularly “Bedding DownThe Revolution”, a 21 minute epic that slowly engulfs you, hauntingthe room with soft ambience. Elsewhere a quieter flavour ismaintained the music subdued but no less intense, shades of Coil orAsh Ra running through the pieces. All three of these artists are members of the Hop-Frog Kollectiv,and this group has also released the Post Asiatic compilation, adouble disc that features over a dozen bands playing in a similarstyle. Names you may know include Amps For Christ, Auto Da Fe,Aditi Tahiti and Muslimgauze, although over 160 minutes everyparticipant manages to keep the quality high. All these albums are recommended, but casual readers may wellbe advised to start with the compilation which is awash with someexcellent modern Kraut-influenced, eastern flavoured rock, and whocould possibly resist that. (Simon Lewis)


15 of 15 12/28/07 1:30 PM

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= DECEMBER 2007 Quick Links - JPT Scare Band · Featuring members of Sapat, Virgin Eye Blood Brothers and Magik Markers, this sprawling megalith of sound contains six epic ... down