THE LILAC TIME. Astronauts. Creation CMQCD1202
Astronaut was the last album by Stephen Duffy’s pop combo The Lilac Time, released in 1991. He has of course gone on to be the main songwriter for Mr Robbie Williams. This is an exquisite album, saying that as someone who took no notice of TLT back then. A consistently fine, very much acoustic-based, album. For all sorts of reasons, this album was recorded in Stephen’s spare bedroom in Great Malvern with one Shure 57 and very little else. Stephen abandoned the record without completing it. The band split up before the album was released thus ensuring its status as a cult classic. Its sparse, unfinished nature was an inspiration to TLT reformation album, Looking for a Day in the Night, in 1999, which was recorded on the same 12-track analogue machine. The mood of the album is quiet, sensual, melancholy and romantic. The excellent track ‘Dreaming’ is a return to the dance-orientated sound that typified Duffy’s pre-Lilac Time work but still fits in well with the acoustic numbers. The 12 main tracks are complemented by seven bonus tracks, including song’s from Duffy’s solo albums, ‘Duffy’ and ‘Music in Colour’. This is a well-crafted album and highlights Duffy’s fine songwriting, and not forgetting vocal, abilities. Well worth a listen. (Liam)

CLUE TO KALO. One Way, It’s Every Way. Leaf. BAY45CD
Australian music is not usually well featured in the modern contemporary stakes, but Mark Mitchell’s second release is somewhat different. Recorded in Adelaide this on first hearing sounds like a kitsch jangling outing that surely cannot interest serious listeners and yet there is something here that I cannot simply dismiss. I know that I should be able too but alas I find myself becoming intoxicated despite my vain attempts to divert my attention. At times sounding quite lo-fi, the quirky sound has a natural flare that is quite unique. The music is very different as it displays complexity and yet retains a simplicity that is refreshing. It starts with The Younger The Older, which sounds like an old recording in the outback at the start before the modern instruments appear. It’s quite an involved sound, but short of the famous wall of sound and his voice is warmed to fit in with the feel of the piece. It’s a happy sound and one that is very catchy despite or perhaps because of its quirkiness. The way the opener develops from the start is quite surprising during its three and a half minutes. The multi-tracked vocals on the following Seconds When It’s Minutes are instantly likeable and the changes to the tempo purely add spice. I thought that was good but Come To Mean A Natural Law is even better with electric piano and guitar riffs that are totally mellowed. With muted saxophone and singing that is reminiscent of Crosby, Stills & Nash making this song overtly soft pop and yet if you concentrate properly you’ll find that there is a lot more to this brilliant song. It may take you two or three listens to get to grips with it, but it’s certainly worth the effort. As Tommy Fixes Fights again shows off the vocals to great effect without resorting to effects. Time soon passes and you're suddenly listening to the finale The Older The Younger. Sensibly limited to 45 min, as your concentration may lapse after this period, this release is very memorable as a whole. (Brooky)

EMERSON LAKE & PALMER. Manticore Vaults Volume 4. Sanctuary Records.
I think this release will be a real test for ELP fans. As you can see, this is the fourth volume of ELP archive live material to be released. And, like the previous three volumes, this isn't a small collection - eight discs in all. This one features four gigs: Hartford Civic Centre from 10th July '77, Chicago from '78, Pennsylvania from 22nd July '92 and Jones Beach 25th July '92. Each concert is on two cds, hence the eight, and whilst there are the odd and even rarer nuggets tucked away, you begin to get a strong feeling of deja vu. I cut my 'rock' teeth on ELP, and damn near worshipped the ground they walked on, but there's only so many times I can hear live versions Karn Evil 9, or Pictures, or Lucky Man, or Fanfare For The Common Man...! I guess these guys were so good at what they did, there really isn't too much variation in their live material, both on set lists and the length/exactness of the track being played. What is surprising is the fact that, contrary to what you'd expect, the two gigs in '92, despite being a couple of days apart, have perhaps more variety in the set list than some earlier ones years apart! On the whole this fourth set, individually, seems to offer more variety and chronological exactness but like I say, in and amongst the other three, it seems to lose its impact. The recording quality isn't exactly state of the art, but that aside, it will no doubt appeal to staunch fans. (Dw)

MARVIN AYRES. Cycle. Burningshed. BSHED0505
If I say that this CD consists of twelve tracks by Ayres displaying a piano playing technique then this will no doubt completely dissuade you from reading any further! BUT you will not have heard piano playing like this before because the instrumental music sounds nothing like a piano. By using the harmonics and gently recycling them the resultant ambient music is very noteworthy. Obviously experimental and originally aired on the DVD Sensory, Cycle has already been screened at Tate Modern and has gained a reputation. Easily described as similar to Eno’s best these soundscapes ebb and flow in a genteel manner that neither frightens nor disturbs the peace. Certainly very evocative, Ayers likes to describe his music as ambient orchestral dub, but don’t expect much deep throbbing reggae beats as that would make the music far less ambient. Only ten tracks are listed on the CD cover and they count down from ten i.e. cycle 10 is track 1, so I am not entirely convinced of the titles of tracks 11 & 12. I suppose it’s not important to identify individual tracks as you should play this in its entirety. The press release suggests that this work is particularly suited to contemplation, meditation and relaxation and that is perfectly true and there is no denying that it is quite engaging and so drifting off into sleep would not be easy. He used two pianos, one tuned and the other slightly out of tune and then played with the harmonics in the studio. It is a really calming experience to listen and one that you should undertake. A perfect stress buster. (Brooky)

LINDISFARNE. Meet Me On The Corner - The Collection. Sanctuary.
Three cds make up this (almost) definitive Lindisfarne collection. I say almost because, obviously, they began their illustrious career on another label, but as it stands, it's probably as near as you'll get. The album kicks off with the superbly evocative Run For Home, and of course, a lot of their better known songs are here alongside lesser ones. The songs from the 'other' label that are well known, such as Fog On The Tyne, Dingly Dell, We Can Swing Together, Lady Eleanor and the title track, are all represented live. Indeed, the first two cds are taken from studio albums such as Dance Your Life Away, Sleepless Nights, The News, Back And Forth and Elvis Lives On The Moon. The third album features nineteen tracks from the album (actually, all of them!), Magic In The Air. It's a good mix of mid Lindisfarne, and as many would say that they'd gone off the boil a little, at least studio-wise, there's plenty of material here to show otherwise. Live, well, they could do no wrong. (Dw)

VARIOUS. Check The Water. Leaf. BAY50CD
It’s hard to imagine that this label has been in existence for ten years and in celebration of that fact they have released a double compilation CD. Split into two-section time wise, the first features tracks from 1995 to 2001 and the second from 2002. A number of artists from the label have already been reviewed in this magazine and most have received high marks. The label has found a niche in identifying trends of modern music that excite and cause a lot of interest amongst followers of what is loosely described as electronica. You never really know what you’re likely to be listening to when you play one of these releases, but the quality is usually very high and its also very likely to be different but not at the expense of losing its musicality. You can relive some great musical moments by well-respected artists such as Four Tet, Susumu Yokata and Gorodisch. A must hear is the last track on the first disc by Caribou which has a very percussive start along with noises that could be off putting on the excellently titled Tits & Ass: The Great Canadian Weekend. Yet it soon settles down to be an absolutely brilliant instrumental. The first track on the second disc is even better with its slow orchestral style electronica by Murcof entitled Mir it certainly leaves a lasting impression. Another very impressive inclusion is by 310 and their Shadow Traffic will leave you humming the chorus line long after the music has finished. The singing on Portland Town by A Hawk And A Hacksaw is also worthy of note although the lyrical content (murdering children under warfare conditions is very harsh for such a mild melodic song. This is a marvellous selection of material that only reinforces the label’s already high standards. (Brooky)

DON FARDON. Coventry Boy – The Anthology. Castle Music CMQDD 1340.
Don’s name hardly rolls off the tongue these days does it? – even in his heyday during the late sixties/early seventies, he only notched up 2 major hits:- ‘Indian Reservation’ (No3) & ‘Belfast Boy’ (No32) – both in 1970. A pity because his vocal talents deserved much better. The answer perhaps lies with the material he was given (he didn’t write his own songs). Far too many are weak or cheesy and haven’t aged well. But for this, Don could have been another Tom Jones if he’d only had the right songs. Having said that this well-put-together anthology contains some fine moments – in particular the aforementioned ‘Belfast Boy’which is about the late/great Georgie Best and remains one of the best (‘scuse the pun) football related songs of all time. Also of note are ‘Gimme, Gimme Good Lovin’, ‘Take A Heart’ ‘Sally Goes Round The Moon’ and spirited cover versions of ‘Back In The USSR’ and ‘Lola’ One glaring omission though! – there’s no ‘Echoes Of The Cheers’ which was the ‘B’ side of ‘Belfast Boy’ and was another perceptive song about Besty. That aside this is a fine anthology and a great time capsule for late 60’s / early 70’s pop. (Polly)

SAME ACTOR. Sharp Edges. BIP_HOP. BLEEP30
Chris Cook employs the use of computers and stringed instruments to make an album that is somewhat different to what I expected. Guitars - nothing new, sitar - been done before, but perhaps the dulcimer is very unusual. The overall sound is a curious mixture of guitar licks and electronics. At times it sounds very cosmopolitan especially on Red Yellow Porpoise. The two minute opener Light Years starts in an ambient fashion and then the expectation is for the piece to build and explode into a full on slab of electronica but it never does and instead goes downtempo ending so quietly. The sitar is used as the main instrument on Nothing Yet and is surrounded by electronics, some of which appear to be chopped up. There is almost a reggae feel to this unusual offering. Dulcimer Scramble Suit may sound unfriendly on the ears but this beat driven instrument contains a number of great riffs. Some of the tracks have quite a sombre aspect to them. Tread Carefully has aspects of the Far East syncopating with what sounds like notes form early synths but it's given a modern feel with computer involvement and is exceptionally enjoyable. Distorted beats are to be heard on the following track Hammer, which may give an impression of heavy tactics but its more akin to a tack hammer. Morph starts with a bass riff that is then accompanied by an electric guitar and then an acoustic guitar is plucked to give a beautiful sounding end to this instrumental. Acoustic guitar is predominant on Take a Bow which is accompanied by guitar via a wah-wah pedal. The last instrumental is perhaps his most accessible and interesting as during the 26 minutes the listener is guided through a genteel labyrinth of sounds that although not ambient certainly make it feel so and its melancholy atmosphere indicates the composer's thoughts as he entitled the composition Deforestation. The extensive use of the sitar may put a few off but this is for some obscure reason is rather compelling. The mood changes completely around the sixteen-minute mark where it becomes more sombre and eventually the music illustrates the wilderness. This is indeed a strange album, but with more emphasise on stringed instruments than electronics; he has found a unique style that is very satisfying. This album does contain some sharp edges and is all the better for it. (Brooky)

THIRD EAR BAND. The Magus. Angel Air SJPCD173.
The Magus is the so-called 'legendary missing fourth album', but has now been found, dusted off, a little polish added and released by Angel Air. The only band member who really means anything to me is Simon House, who was in and amongst members of Hawkwind on the classic Warrior On The Edge Of Time. Anyways, the Third Ear Band had a knack of releasing stuff that was incredibly different, each and every album was unusual and yet there was an underlying personality, a sound that only this lot could achieve. Seven tracks, featuring traditional and electronic instruments, with a mood that sometimes sounds like their music could have worked on The Wicker Man. Oddly enough, when the electronics start, and Simon House's violin begins, there's even the odd hint of Hawkwind. Surprisingly good album, and as always for the band, a typical untypical album. (Dw)

Terry Munday. The Human Zone. Music2Vision
What we have here is an instrumental album, with the emphasis on Munday’s virtuoso guitar playing. His work is often described as an eclectic mix of Blues, Latin and haunting melody. Plenty of atmospherics, at times brooding, at others melodic (that word crops up when talking about Munday), with a good mastery of the harmonics. To be honest, it’s difficult to say much more. He is a master of his craft and if you’re keen on the lead guitar then you’ll be more than satisfied in listening to the many changes of pace and rhythm that the guitar can be put through in this guy’s hands. Great production, great performance. (Liam)

TONY HARN. Revealed In Black & White. THCD004.
By heck, it's been a while since I heard anything by ol' Tony. This new album is enriched by a very positive seam of jazz/fusion(ish) running through many of the compositions. The direction seems somewhat different from the ambient and soundscapes I usually enjoy. This isn't to say it's a disappointing album. Far from it, hidden (well, not 'that' hidden) are segments of this appear on Beatrice Dalle Take Me To The Moon, and the title track is dare I say classic Harn. It's quite amazing really because we go from an almost Miles Davis circa Bitches Brew to a Yes, Close To The Edge style all within five minutes! If anything, tracks like Open Arms (a splendid piece that has an 'electronic' feel to it) , The Talking Is Over and Hurdles only strengthen the fact that Harn is a very capable musician with his playing, and writing skills, but above all he's not stuck in a musical rut, and seems to enjoy trying and working (successfully) in a variety of genres. (Dw)

THE ASSOCIATES. The Affectionate Punch (25th Anniversary Remaster) Universal/Fiction
Ah, The Associates – they were just bloody brilliant and unlike anything that was around at the time. Alan Rankine’s virtuosity on the instruments and Billy McKenzie’s wild, soaring vocals. You may be amazed to hear (and to wonder where have all the years gone) that this album was first released in October 1980. Independent, new Wave, Alternative – they were all that and more. They were also not afraid either to use electronica and to experiment with sound to excellent effect. The traditional ensemble of guitar, drum and piano are the main stay of the tracks, at times threatening to drown McKenzie’s vocal, so far in the background does he sound at times. Then you get a track like ‘Transport to Central’ and it sounds like there is a roomful of McKenzies! You also have the added attraction that Robert Smith, from The Cure, chips in with additional vocal backing. Not only do you get the original 10 tracks in all their glory, but also an additional 4 tracks taken from singles and samplers. There’s really not a lot of point in going on about how excellent and unique they were if you like them, you’ll go out right now and buy this, otherwise if you’re not sure, go out and buy this right now! (Liam)

Guy Mcoy Torme. Bitter And Twisted. Retrowrek.
All three of these guys have literally got a right who's who of rock behind them. Perhaps the best known (as far as MD is concerned) is Bernie Torme, who, in the past, has given us some cracking albums over the years we've been reviewing. He's a bit of a dab hand when it comes to the ol' guitar, so, backed with Mcoy's huge bass, and Guy's awesome drumming, well, for those of you out there who like your rock with balls, then I suggest you purchase this album immediately. Eleven tracks, with stand outs ranging from Can't Beat Rock n Roll, Summerland, Rocky Road, and opener, Cannonball. Oh, and the title track is a belter. A marvellous time can be had in the prestigious company of Robin Guy, John Mcoy and Bernie Torme. (Dw)

HUMAN LEAGUE. Live at the Dome. Snapper Music SMACD904
The Human League – the music, the man, the girls, the hair. I will say here that I did have a fondness for the band, from their early experimental beginnings to their massive electronic music successes. I’m not sure whether they ever really split up – I remember reading a review in the Guardian about 5 years back when they were the guests at a company Christmas do. Anyway, here they are, Phil, Susan and Joanne in Brighton at the end of their 2003 comeback tour. It does send a tingle down the spine to hear these songs once again after nearly 20 years. The music and backing tracks are crystal and sounds exactly the same as 20 years ago – well, why wouldn’t it, all being computer programmed. The vocals are recognisable and at times somewhat raw, especially towards the end of the CD – no studio post-production to enhance them, but saying that, Phil is well able to belt out the tracks. All the favourites are here, “Hard Times/Love Action”, “Things that Dreams are made of”, “Don’t you want me?” and “Mirror Man”. Thirteen tracks of pure nostalgia - really, what else can I say to those of you who were huge fans of the group? This is very good, fantastic production with the vocals standing out from the (familiar) backing tracks. You might even get a bonus DVD with this featuring a selection of the tracks from the gig. A brilliant trip back in time. (Liam)

Root Deco. We Come in Peace.
Power-house 60’s revival is the name of the game from this duo. A heady mixture of Blues, Rock and Psychedelic would adequately sum up the 8 tracks on this CD. I think the press release about the band will give you a gist of where their heads are at – ‘It is their observation that the Golden Age of Music happened circa 1960 - 1967 after which self-empowerment gave way to self-indulgence and eventual self-destruction. Root Deco, rather than being a 60's revival group, considers what it does "60's revision" - as in: "nice concept but can we skip the drugs and poor hygiene and maybe get it right this time?"’. Oops, sorry lads didn’t mean to call you a 60’s revival outfit there! Anyhow, a fantastic sound, with a strong 60’s guitar core and drum hook. The 60’s are back – no, they’re being revised! Well worth checking out. (Liam)

The Fantastic Life Of Nigel Kneale. Andy Murray. Headpress.
Personally, my first experience of Kneale's name was when I read about a play which involved images and sounds being stored (like a cassette tape) in and on, literally, stone. At a certain frequency, these images and sounds would 'play', hence ghostly images. The idea was even better when I eventually saw The Stone Tape some years later. Odd thing is, I'd seen several versions of Quatermass and not known at the time is was Kneale who'd written these. Murray has written a very readable book here, and whilst there are more than your average amount of typos (actually, a lot!), it shows how Kneale took many a bull by the horns and wrote some great drama with sf (in its broadest sense) at the fore. Kneale comes across quite a rebel and speaks his mind, and his descriptions of the early 'empire' of the BBC is rather an eye opener. I was surprised how many of his ideas and plays never made it, damn near, if not more, than the ones that did. His opinions on the Hammer versions of his plays, and the various actors who played the Professor are at times humorous, and at others, quite outspoken - especially his views on Dr. Who! (Dw)

The Scaramanga Six. Cabin Fever. Wrath wrathcd20
This is the third album from TSS (think they come from Leeds or at least the surrounding area) and it is a belter! Plenty of pure intense rock and pop. Sounds very retro and 70s and almost heavy metal – but not quite. A heavy Queen comes to mind (including the vocal harmonies) and indeed, inside the CD case there is a picture of the band with a pose very much similar to Bohemian Rhapsody – underlit faces and all! The Cramps would also appear to be an influence together with lashing of Horror Rock. I can imagine that this band is fantastic live, with plenty of energy and noise and lights aplenty. A welcome addition to the 21st century! (Liam)

FAT MATTRESS. Magic Forest – The Anthology. Castle / Sanctuary CMQ DD 1334
It’s a sad but true fact that most people check out Fat Mattress these days because of the Jimi Hendrix factor. Hell, even the removable sticker on this excellent anthology declares: “featuring Noel Redding of the Jimi Hendrix Experience” (although this is not as blatant as the “file under Hendrix” sticker on a previous mattress release!) The Hendrix connection is inescapable though. Redding formed Mattress whilst still a member of the Experience, born out of his frustration at the lack of his own material being featured on the Experience’s albums (only two Redding compositions appeared on the bands 3 albums) and Mattress’s first tour was supporting who else but The Jimi Hendrix Experience! (Noel would spend the entire night on stage on each date !) Any new Hendrix fans checking this album out expecting similar guitar histrionics will be disappointed, but that is not what Mattress were about, there sound being tight melodic pop /rock songs more in the Beatles / Move / Traffic vein. Fat Mattress only made two albums – both included here along with various outtakes, B sides and tracks from an aborted third album. The first album is truly a classic ( one of my favourite albums of all-time!) Making this an essential purchase for that reason alone. My only gripe is that it’s only 5 minutes since they released ‘Black sheep of the family’- an almost identical anthology!! – the only difference being that this one contains extra tracks from a rare BBC session, making it an expensive purchase for completists for just 3 songs! One final thought. Although it’s not stated anywhere in the booklet, a certain James Marshall Hendrix plays percussion (yes percussion!) on ‘How can I Live’ – a bit like Huddersfield Town signing Wayne Rooney, then playing him in goal! (Polly)

KARDA ESTRA. The Age Of Science & Enlightenment. Cyclops CYCL158.
Historically speaking I'm probably miles off here, but with a title like that I've got an image of HG Wells hovering as I listen to these gorgeously rich and deep pieces. There aren't many like KE, who manage to have created an almost insular world of their own. Each album, this especially, is more like a soundtrack to a dark and gothic movie, rich in sunsets, arches and mist-enriched woods. Mind you, the cor anglais and oboe are beautiful instruments, and are enhanced no end by the haunting female 'choir'. Richard Wileman plays a variety of instruments from guitar to keyboards and bass, but he's also surrounded himself with a bevvy of ladies who take care of the above oboes and vocals. Subtley sinister at times, but all in all it's another rich landscape to explore. Actually, some of HG Wells' short stories would work well, narrated with these pieces underneath. Mmmm... (Dw)

ARMS OF KISMET. Cutting Room Rug. Wampus Multimedia WM039
An interesting collection of tracks here from the US based indie label. As such it is very hard to describe but that’s my job so here goes. Great guitar and dance beats abound here, with fractured, crazy lyrics. Very powerful production as can be heard on the first, very cool track, “Auriculara (Listen to me)”. One minute hard, the next sugary sweet. Alt-rock to alt-country, via alt-pop would sum the album perfectly. I’m also pretty convinced that track 4, “Listen (to this)” has a sample from a The The track from 20 years ago. By the way, track 8 is called “Listen (to that)” and the final track 11 is “Listen to You”, all containing mock(?) American DJ speal. Track 10, “Pinnacle of Same”, is a glorious mélange of sound and lyrics. So, have I summed them up to your satisfaction? Probably not. All I can say in conclusion that, yet again, another group of DIY-ers have come up trumps. (Liam)