HOWARD RILEY. At Lincoln Cathedral. Heliopause Records.
Double cd featuring master Riley all on his Jack Jones, wrenching all kinds of moods and colours from the Steinway. Riley is mainly recognised for his work in the British free jazz movement (read improvising) although at times on here he sounds classical. There are specific passages where I'm taken off to some suburban afternoon, quiet, sunny, reflective pieces that transport you to a safe and warm place. Sure, there's angular and raucous passages as well, but like most conversations, they can rise and fall in passion and reflection. A double cd's worth of solo piano improv might prove too much for many, but it's one of those albums where you have to wait for the mood, or the right time. Kind of a mix between Bax, Tippett, and Stan Tracey. It's surprising just how this recording takes you through so many different moods with it's wide and varied palette. Hey, and the man comes from Huddersfield as well, so he can't be that bad! (Dw)

SIGNL FLTR. Chrono. Databloem. DBCD015
If you have not investigated this series of releases available from this label then you have led a sheltered lifestyle. Perhaps this release is a little darker in tone than previous but that should not dissuade anyone from trying out these ten tracks of mature electronica. Some of the notes or sounds do have a scary edge to them, which is naturally heightened by the mood. Some scores are quite depressing yet here the themes appear to be uplifting and always allow the mind to roam within the musical borders provided by the elaborate framework of the structure. The opener Undra has a slow beat and lots of scary reverb that almost makes you sit on the corner of your chair. It’s one of those instrumentals that creep up on the listener and despite its apparent simplicity there is a lot more depth to the recording. The looped bacon frying sounds on Quakomprr could easily become too repetitive and yet I found myself being drawn in attempting to identify all the subtle changes on this pseudo atmospheric techno track. A more traditional beat can be heard on Suite due to its spacious feel combined with industrial style noises that makes it very melodic upon the ears. Standard beats, rhythms and melodies are not really applicable, as textures and mood assume greater importance. The more beat oriented Conek features much more percussion and sympathetic atmospherics which although is only a short track appears to be in two halves and the latter is pure ambience. Maybe there is a preponderance of what I will call downtempo techno like the track entitled Reck but it's really all about stimulating the imagination. The finale Cause is almost whimsical and yet with its intricate rhythms it builds into a magnificent instrumental. I rate Chrono as an excellent release as your mind is not allowed to wander and hence you are forever concentrating on each piece as an individual. Danny Kreutzfeld shows once again that his music is razor sharp and has not lost his ability to make an impact on the contemporary electronic scene. (Brooky)

CERAMIC HOBS. The Golden Hour of the Ceramic Hobs. PUMF 511
The spine of the CD informs us that this offering is “celebrating 20 years of mental illness”. Indeed. Anarcho punks from the mid 80’s is a general sum up of this outfit. Chainsaw sounds, radio and tv samples and swirling, and fractured, disjointed lyrics can be found on the majority of the tracks. I’m reminded of Stiff Little Fingers now again, in particular in some of the vocal delivery. Sadly, I ended up with a headache after listening to this. So, if you are into fractured, grinding punk, then this is definitely for you. Excuse me while I get a nurofen. (Liam)

The Future Kings of England. The Future Kings of England. BACKWATER OLKCD011
The trio that form the Monarchs (as they appear to be known as) have put together a well produced debut album that demands concentration and patience from you, the avid listener. The genre is Space Rock, possibly shoe/star-gazing mixed in with standard Rock (guitars and drum), electronica and ambient loops and samples. There are, within a number of tracks, complete breaks in rhythm and style, leading one to believe that a new track has started. This can be disconcerting, but you recover from the shock very quickly! The music, in general, is very atmospheric and, at times, haunting. There is the odd track that grates with me, but overall, a pretty fair debut. Don’t expect nice, neat, beginning, middle and ends to these tracks and sometimes the abrupt changes mid-track can deceive, but persevere and I suspect you will be richly rewarded. Oh, and there are no vocals either. (Liam)

GUY HALL'S PERIPHERIE. Ardour.
Guy's been sending the odd album our way, and each time, and with each successive release they get subtley better. And as such, Ardour, to my ears anyways, seems the best yet, and by a long way. It seems much more together, better produced, more concise and by hell, a cracker. I'm reminded of the Soft Machine, long after Wyatt had left, kind of mid period. Admittedly, no one can emulate the much missed Elton Dean, although at times his playing was a bit angular for my tastes. On the track Alone, there is a Dean(ish) feel, and happily it's kept in check, it doesn't go off into the nth dimension. Also, on Beyond The Fields We Know, there's some excellent bass work. Ten tracks in all, not a duffer among them, and as I've said, Ardour is a more rounded affair, and as such, thoroughly enjoyable. (Dw)

MICHAEL SANTOS. Matters. Benbecular Records. BEN519
Benbecular Records conjures thoughts of traditional Scottish music and yet the opening notes on this CD surprise. Santos is from Leeds and this is light years away from anything traditional. Lush ambient and electronica have been heard before on many albums but what makes this so different is that both styles are included on the same track. On first hearing its not easy to enjoy the harsher moments as they seem to be too outlandish and yet when listening again they appear to be less pronounced. The shock factor is less effective the second time around. I now find that I am drawn towards these nine instrumentals and the mellow sequences far outweigh the experimental chattering and clanging. The experience is very uplifting when you allow this music into your life. I suppose the minimal offering on such tracks, as Light may appear to be less interesting than other more easily accessible sections. Appearances can be very deceptive and this personal crusade can be enjoyed to the full when the lights are low. The ambient Keeping In Touch with its underlying melody is very satisfying and made much more exciting by the pulsating tones that fit perfectly. Those who like their music to be bass heavy will find little here to enthuse about although this is rectified on the final track La Cascade. Santos manipulates guitar and synths to create unusual musical textures that now can be sampled by a wider section of the public. Some albums are instantly very likeable but then become very tiresome after only a few listens where here is a genuine slab of electronic music that fulfils its promise. (Brooky)

CHARLES GOFF III & CHRIS PHINNEY. Maestros Of The Magnetic Age. Taped Rugs/Harsh Reality Music.
Interesting concept where on one cd the music/sonics originally created by Chris Phinney are manipulated and added to by Charles Goff. And on the other cd, it's the turn of Phinney's original material to be added and manipulated by Goff. On the Phinney manipulated Goff cd there are five tracks, and eight on the Goff manipulates Phinney. On the five track album, Phinney has created some quite sparkling soundscapes. With the use of voice overs (from a variety of sources like OTR and sports commentators) and reshaping, looping and changing the original material he's produced a machine shop of textures and colours. Because the tracks here are generally longer, they develop slower. The other cd features on average shorter pieces. The beauty in this is that both cds combined offer up some interesting concepts, at times they're industrial, and yet by turns, ambient. Anyone who's interested or enjoys the work of Goff, or indeed anything related to Goff will know that what you get isn't your regular fare. Maestros is no exception, but I do believe that this set is probably more user friendly for beginners. A splendid tour of the inner landscapes. (Dw)

NECK. Sod’em and Begorrah. Hibernian Records HIBER03
Over the last few years, London-Irish band Neck have established themselves as a leading force in the folk-punk scene with their spirited psycho-ceilidh sound. Certainly think of the Pogues/Popes but add in more fuzzed, chain sawing guitars plus a touch of Stiff Little Fingers and you get very close to the greatness that is Neck. Yes, I’ve listened to this once and I’m a huge fan already. The 6-piece band combines a full-on electric punk rock rhythm section of guitar, bass and drums, together with a swirling traditional Irish lead section of fiddle, whistle, banjo and uilleann pipes, all topped off with the raucous, passionate vocals of singer-songwriter Leeson O’Keefe (he used to be in the Popes too). Many of the tracks are self penned, with a trad-arr or two thrown in for good measure. The usual topics are covered – Ireland, drink, football, drink, The Troubles, drunk etc, all ending on a extraordinary poignant, melancholy note with “I’ll Take Me Back”. Fantastic, funny notes accompany the lyrics, explaining words, phrases and places that crop up in the particular song. Absolutely brilliant album. Apparently, they’re great live, so go and see them if you have the chance and if this album is anything to go by are the winners so far of greatest album title of 2006/7. (Liam)

BLUETECH. Sines And Singularities. ALEPH ZERO. ALEPHZ04.
The second offering on this Israeli label specialising in downtempo electronica, ambient chill out dub. So my excitement level is already aroused. Evan Bluetech was classically trained as a pianist and is now involved in reinterpreting ambient and tone structure with a flavour of the West Coast of America. His music is very easy listening without becoming bland and he manages to maintain the interest for the entire album, which is almost 80 minutes long. The clarity is superb, and the bass will annoy the neighbours if unrealistic volumes are set on tracks such as Forgiveness. Some DJ’s like Alan Freeman always said it was important to open an album with a great song and Bluetech does just that with an excellent slice of dub oriented instrumental entitled Enter The Lovely, which causes one to gently move in sympathy with the beat. This is beat driven music with a large dose of melody and is tightly structured along familiar lines. The only two tracks on the album that are not written by Bluetech is First Came The Stars by Shulman and Pitch Blacks’ Ape To Angels. I found this album to be a marvellous excuse to simply lie back and let these likeable instrumentals achieve a very happy state of mind. (Brooky)

BAD COMPANY. Live Albuquerque, NM, USA 1976. Angel Air Records SJPCD 221
It’s hard to believe, given that Bad Co were one of the great live bands of the seventies, that this is their first official live album by the original line-up. As the title states, it was recorded in Alburquerque, New Mexico back in March 1976 and captures the band at the very peak of their powers, infact it could have been sub-titled ‘Best of Live’ because all the classics are here:- ‘Ready For Love’, ‘Can’t Get Enough, ‘Feel Like Makin’ Love’ ‘Bad Company’, ‘Rock Steady’ ...(need I go on?) The recording and even the cover artwork have a bootleg feel to it – this is no bad thing, these days so many ‘so called’ live albums sound too polished and have obviously been touched up in the studio. This one sounds like it’s come straight from the soundboard and has (Rodgers) vocals suitably high in the mix. For once I will agree with our prime minister: Paul Rodgers is the greatest rock vocalist of all-time! Make no mistake, this is a great live album, up there with ‘Live at Leeds’ & ‘Live & Dangerous’ and has got to be a contender for live album of the year, which makes it all the more baffling why it has taken all this time to be surface. Had it been released back in ’77 it would have been a No1 platinum seller no problem. Now, because the band no longer exist, may not have the commercial success it deserves which is a great shame. (Polly)

JOHN WOLF BRENNAN. I.N.I.T.I.A.L.S. Creative Works Records.
This double cd contains a real mixed bag of pieces. No surprise really I guess, seeing as though they do come from the period 1979 to 1991. What is a delight is the sheer range they plough through. We go from an almost Henry Cow(ish)/Loose Tubes band, to Irish lilting fiddles and whistles, these pieces being stunningly effective and atmospheric. Like a lot of newer composers, and musicians, their real merit (for me) is whilst they're mainly breaking and covering new ground, these guys can really play when it comes down to it. Call me old fashioned, but disjointed and angular playing (warming up, as Zappa used to say) is okay in small doses. There are more than enough examples on here to show not just Brennan, but many of the musicians, are well capable at turning out some 'normal' tunes! This is one of the best albums I've had from Creative Works, and to hear Brennan playing some truly beautiful piano is rather heart warming. (Dw)

THE KORGIS. The Kollection. Angel Air SJPCD204
The Korgis? Sure, you’ve heard of them – they had a massive hit in 1980 with “Everybody’s Got to Learn Sometime”, an incredibly haunting song that never fails to send a shiver down my spine. You may be surprised to know that they released a number of albums between the late 70’s and the mid 90’s, called it a day, but then got back together recently to record some brand new material. This album takes us through this period and includes the newer stuff, as well as some previously unreleased bonus items. The vocals by James Warren certainly stand out and soar, and together with an electronica/synth rhythm and, at times, orchestral majesty, the result is rather pleasing. Ok, it is lightweight pop, but not bad for all that and many of the tracks do stand the test of time. I personally think that it must have been difficult to live up to the big hit, although they try admirably. Strangely, on a few tracks (track 7, “That’s what Friends are for” is a perfect example) I’m reminded of Tears for Fears briefly, who, of course, were around at the same time. In 1993, the hit was rerecorded by the Korgis and remixed by DNA, resulting in a euro-dance version - so nothing to really get excited about! It’s good to hear what other offerings the band produced, since the hit can get overplayed, especially on compilation CDs. Not bad at all. (Liam)

SPIELERER. Publix. Databloem. DBCD014
There are times when just by listening to the first few notes you instantly know that you are in for a treat. I do not know how is does, but it works for me every time. I hope this is also true for you as the opening track entitled Tradition is a magnificent slice of electronic music. Surely there is no way that this standard can be maintained. The following track features gentle ambiences and moody bass notes that are carefully assembled into a haunting main theme composed using lots of differing sounds and sequences that continues to maintain the fascination. I think that Delight certainly lives up to its title and on reflection is even better than the opener. Area starts as being very low-fi with muffled sequences that are almost on the point of annoyance but slowly the quality appears to improve and rich Tangerine Dream style sequences emerge that are bound to please many. Technical quality is restored on the following track that again provides classic melodic electronic ambiences that persuade the mind to relinquish the mental pressure and all anguish is banished. Relaxation is the only thought to be encouraged when listening and thoroughly enjoying Renovation. This excellent release finishes in true ambient style with the appropriately titled Restplace, which describes the evocative piece precisely. Dennis Knopper has a major flair, which thankfully he shares with those who choose to listen to this truly exquisite music. (Brooky)

THE ADVERTS. Cast of Thousands – The Ultimate Edition. Snapper Music SDEVIL905CD
The Adverts were part of the first wave of punk, performing at the Roxy Club in 1976 and releasing their debut album on Stiff Records in 1977. Two years later they released their second album “Cast of Thousands”, shortly before the band split. This album was critically panned, mainly because they no longer considered themselves one-chord wonders and were moving away from raw punk. The album was produced by Tom Newman, who produced “Tubular Bells” for Mike Oldfield, and highlights the experimental nature of this offering. The dynamics of the band had changed – they were stripping back the blocks of electric guitars they had used throughout the debut album. Instead the rhythm track for this album was built up around swishy acoustic guitars and electric guitar passages and livelier drums. There are even piano, handclaps, bells, massed choirs and wild synthesisers (courtesy of Richard Strange at one point). Do you know what? It’s a brilliant album. The energy of their punk roots is still there in the vocals and lyrics (“I surrender” has a Johnny Rotten-sounding wail in there) but the musical experimentation and production are first class. T.V. Smith is quoted in the sleeve notes as being proud of both albums and that people who heard “Cast…” before the debut (“Crossing The Red Sea With The Adverts”) tend to prefer it to the debut. He, naturally, is proud of them both. Anyway, what I haven’t mentioned is that the album has been digitally re-mastered and comes as a 2 CD package. The second album contains all their radio session for the late, great John Peel. The first 9 tracks (circa 1977) highlight their punk roots admirably and here there is a recording of what must be their most well-known single “Gary Gilmour’s Eyes”. I’m assuming these will be around the era of the debut album. The second group of 9 tricks are from 1978 and the change of musical direction as mentioned above is immediately obvious. Hearing “Television’s Over”, they have definitely crossed over into the Alternative/Indie camp. If you were to ask me which period I preferred, I’m going to say the later period – a meatier, cleaner and more intelligent sound being the order of the day. A bloody fine example of a band changing and (although their original fans won’t agree) being the better for it. (Liam)

BIG BLOCK 454. Their Coats Flapped Like God's Chops.
This is my second stint of spending some time in the company of Big Block, and I have to say it's been perhaps even better than the first. God's Chops is a seventeen track album brimming with irreverence, wit and some damn great playing. Big Block are an amalgam of Zappa, XTC, Spike Milligan and the production is cock on. A wonderfully 'full' and big sound is present throughout, and whilst tracks like Hull Is Full Of Grubby Slappers, Eat Your Greens Mr Egg, The Republic Of Rain and Roses (a bit of Fripp influence here methinks) are just so good. By turns the music can be 'fun' then seriously beautiful, melodic, and the Milligan reference comes about via the bands' seemingly irreverent look on life and what it throws at you. What I really enjoyed about this cd was that Big Block are more than capable of turning out some excellent stuff, and as far as musicianship goes, hell yes, they're even more capable. The string section on the track Three Alternatives Part 1 is worth the price alone. (Dw)

THE ALLMAN BROTHERS BAND. American University 12/13/70. Sanctuary CMQCD 1186
The Allman Brothers were one of the truly great bands to emerge in the states in the late 60’s Their pioneering twin-lead guitar / southern blues –rock influenced many bands, most noticeably Lynyrd Skynyrd. It’s still a mystery why they and some of their contemporaries like The Grateful Dead, Jefferson Airplane, Big Brother & the Holding Company (including Janis Joplin) never quite ‘made it’ as big over here. What certainly didn't help was that they never promoted/toured the UK because we were spoiled for choice with so many great bands of our own back then. The Allman’s were certainly busy touring back home and soon became one of the great live acts of all-time. Infact it was a live album that finally established them in the states: ‘Live At The Fillmore’ is now regarded as one of the great live albums of all-time. This CD which launches the bands own label in the states, is another vintage live recording. Recorded just three months before the aforementioned ‘Fillmore’ gig. Not surprisingly the set list is very similar with ‘Statesborough Blues, ‘Trouble No More’, ‘Stormy Monday’ ‘You Don’t Love Me’ and ‘Whipping Post’ featuring on both albums, however such was the improvisational talents of the band, that they never played a song the same way twice. This concert was recorded at the American University on 13th December 1970 and by amazing coincidence, the guy who booked the band to play there (Bert Holman) is now the bands manager! To sum up then. A hot band + great guitar playing + hot gig + well recorded = great CD. Get it now! (Polly)

SPASMODIC CARESS. Fragments of Spasmodic Caress. Falling A EBSCD2
Spasmodic Caress were an English post punk/New Wave band that played many gigs along the East coast and in Ipswich, Colchester and London between 1979 and 1984. They recorded a track for the 4AD 12" compilation Presage(s) in 1980 and also released an album on Falling A Records. Talking about 4AD records, they have a good web site that’s worth a look (www.4ad.com). Anyhow, Falling A have taken the original cassettes that these tracks were recorded on and re-mastered them for CD. Tracks 7 to 14 are from an audience cassette recording, when the band supported Bauhaus. It doesn’t sound too bad although it’s obvious that it’s a bootleg recording. The band themselves sound like a cross between New Wave and the Ska/Two-Tone movement. The singer almost speaks the words. It is a good example of the embryonic beginnings of the new Wave movement and the notion that there was more to rock than anger, shouting and 3 chords. Saying that, this offering is one for those who are pretty clued up and fans of this era. (Liam)

High density Oscillation. Six Armed Man SAM1
Six Armed Man is an experimental music record label that was launched by Falling A records to allow the release of music not bound by conventions or restrictions. Some releases have been characterised by not having any reference to the artist/artists involved in the release, this being a case in point – the front cover shows the aforementioned SAM, but not a lot else. Avant-garde is certainly the order of the day here, although the results are generally pleasing. The first track takes the record for longest title, namely “Manual Manipulation of Volume and Stereophonic Position in High Density. And do you know what? It does exactly as it says on the tin! What you have is general manipulation of sound and samples to produce, well, music, although unlike anything you have heard in a long while. There is structure and rhythm in all these tracks, although the repetitiveness of some may cause your brain to explode, or at the least give you a headache. Saying all that, the like of Cabaret Voltaire in the past used such noises and samples to great effect in their output. It’s a little bit too clinical and lacks emotion for my liking, although Track 7, “Track” does sound rather good and would not feel out of place in a Sci-Fi film soundtrack. Track 11, “Euphony”, is probably the most commercial sounding of the lot, since it does have a recognisable structure and layer to it, although sadly it lasts all of 60 seconds. I’m going to have to listen to it a few more to get my head around them, but fair play once again to Falling A who seem to find a place for all the niche musical offerings. (Liam)