JETHRO TULL. Aqualung Live. RandM RAMCD0015
Most critics, well the lazy one’s who can’t be bothered to listen to the bands extensive back catalogue, cite ‘Aqualung’ as Tull’s finest album. Yes it is their biggest selling (6million+ since it’s release back in March ’71)
I personally prefer ‘Stand Up’, ‘Songs from the wood’ and even ‘Benefit’ to ‘Aqualung’. Having said that it is one of the great prog albums of all-time. In 2004, at the suggestion of an American radio station in Washington DC, the band were asked to perform the entire album for a live broadcast. So good were the results that this is the resulting CD from that live-in-the-studio concert. The performance breathes new life into most of the songs, in particular the acoustic ones. ‘Hymn 43’ for instance is given an Irish Jig arrangement and sounds far superior than the original. Infact whisper it quietly , I would go as far as saying the playing and the production throughout, is generally better than the original, which sounds flat by comparison. These days, Tull comprise of Ian Anderson and Martin Barre (who of course were on the original) together with Doane Perry, Andy Giddings & Jonathan Noyce. This line –up has been together for over 10 years now and anyone who saw them on the recent UK tour, when they played ‘Aqualung’ in it’s entirety by the way, will tell you the band are playing better than ever. Yes this album is thoroughly recommended, though what Tull fans really want is another new studio album – it’s been 7 years and counting Ian! Oh and before any cynics say this is just a quick cash-in, all the royalties from this CD are going to charidee - the homeless in this case, which is appropriate given the subject matter of the album! (Polly)

PENDRO. Nocturne Convolute. Fflint Central.
...and from behind the old, dark panels, there came a scratching and chittering. Outside, on a clear moonless night, flew things without wings, soundlessly searching, endlessly questing. My only comfort in this land of the dead, came from the unplugged, yet still working radio, and through the white noise, the sounds of Pendro were heard...
An album of shorter Pendro pieces, ten in all, each and every one leaves you wanting more. I've always said that a lot of the titles of individual pieces on the Fflint albums add so much to the atmosphere and expectancy of the music contain therein. So, tracks like Uncertain Flight Cycle, A Cellar Full Of Nightjars, Under The Pier, Last Arcade, and Telache Canyon do not disappoint. The Tammus Tree can be found (and heard) on several Myspace sites, and it's not surprising really, it's a belter. As with many Pendro albums, all the pieces, whilst having distinct personalities of their own, do form a kind of 'family' atmosphere and continuity, but I especially like the fact that there are ten in this family. I've said before that I'd always wanted to hear Pendro doing smaller and more concise pieces, so somebody somewhere must have listened!!! And, as usual, the soundscapes, atmospherics, colours and general moods are unsurpassable. All hail fflint.... (Dw)

Janek Schaefer. Migration. BIP_HOP. BLEEP31
This is likely to be an album that will only appeal to those who like to be challenged. Don't be misled into thinking that is a truly awful cacophony of sound because that is far from the truth. It's just that Schaefer works in the field of sound art and this studio based album was conceptualised to accompany a dance that was premiered in a vacant space opposite Grand Central Station. Dancers were put on window ledges and attached to bungee chords so you can possibly imagine what it was like to be there. The instrumental music does not follow any standard pattern and consists of textures that are assembled by using field recordings from various countries. These include bird noises and modified organ drones from Lourdes Cathedral. So the four pieces that fill sixty minutes are bound to be slightly challenging even for the most serious of listener. The ambiences start and flick between the speakers with little form and maybe sound a little like white noise and then out of nowhere comes the bass notes that shake the foundations. A thunderstorm that has been aurally manipulated can be heard along with quite piercing sounds that force a sudden decrease in volume. It maybe all too much for some listening to the opener To Nairobi To Manaus To Walton where distant voices and coughs are also heard alongside many other noises of the forest which naturally includes birds. This almost fills half of the available time, so the other pieces are somewhat shorter. To Oval To Cologne is more rhythmical and can be perceived as more structured as the sounds circle violently overhead and then subside as though the storm had passed. This shorter track ends abruptly and is followed by organ drones that are probably the most accessible part of the album on the piece To Lourdes To Madrid. The use of melodic chimes nullifies to some extent the other abrasive noises. The finale To New York To Eugenie To Perth again uses textures rather than notes and some of these are very bass oriented. This is certainly an album that tears at the boundaries of what most would consider to be music but I found a lot to marvel at. (Brooky)

The Bongolian. Blueprint. BLOW UP BU028CDP
‘Introducing The Bongolian – a solo project by Nasser Bouzida. This is Nasser in his element, taking us on a musical journey of dirty bongo driven Funk and spaced-out Latin Soul – all 100% Heavy Bongo Vibes’. The press release says it all and I don’t think I could put it any better myself! The results from the multi-tasking Nasser (he wrote, arranged, performed and produced this offering) are indeed very pleasing and will find appeal with dance, hip-hop, rare grooves and funky 45s fans. The overriding feeling with this album is that we are back in the 70s and watching the numerous American cop shows that made full use of bongo funk – Starsky and Hutch come immediately to mind, as well as Shaft. It will certainly get you bouncing on the dance floor or whatever venue of choice (don’t try this during the office meeting – it doesn’t go down too well). One excellent feature is the CD label that looks spot on like the label from a Vinyl LP – ahhhh, I can almost smell the nostalgia! Basically, this does exactly what it says on the tin (or, in this case, the press release) and if you’re a fan of bongo-driven funk then you will not be disappointed. (Liam)

The Black Watch. The Hypnotizing Sea. Pink Hedgehog. smile 32
TBW are an indie quartet from LA with lashings of lush, dreamy-sounding pop being the order of the day. There have been comparisons aplenty to the likes of My Bloody Valentine and XTC, and even New Order and it’s easy to see why. Plenty of layered guitars (both electric and acoustic) with some of the cleverest lyrics put to music. The emotional impact of the lead singers' vocals can, in an instant, leave you both sad and smiling. Altogether a lush, melodic album with fantastic production and it’s certainly hoped that TBW build up a following in the UK and Europe that they definitely deserve. (Liam)

VARIOUS. Bip_Hop Generation Vol. 8. Bip_Hop. BLEEP32
Anyone vaguely interested in quality electronic music must by now be aware of the attraction to this label. Not content with just following others and reaping the rewards by staying in the experimental shadows they encourage artist to expand the musical envelope. With this compilation the listener gets a very fine choice of electronica from across the globe. Any record that starts with the work of Murcof must surely be on the right track and his Constelacion is a magnificent moody quasi-classical textured sound collage that oozes melodies of distinction. The opener sets a very high standard that is continued with a collaboration between Benge and Si-Cut-db. The loud start surprises after the long mellow quiet ending of the previous and the cut up nature of the soundtrack is tempered by the slow moving melody on Open Sesame. They call themselves Tennis and contribute a couple of tracks that are both well worthy of note. I especially like A Guide To Losing as it is more experimental and you should definitely check them out. Mitchell Akiyama is based in Montreal and his oriental flavoured music entitled The Tactile Qualities of Light depicts a sparse scene that is quite broody at times. It’s quite a long instrumental with an abundance of plucked notes and he uses unconventional ways of playing conventional instruments. The Trees Behind commences in quite an abrasive style that is only just slightly balanced by a rich melody and then the instrumental slowly loses its harshness to reveal gentle melodic passages, which are really beautiful. It’s by an Italian duo that calls themselves TU M’. Rather unusual is the String Of Consciousness, which is an eight-piece outfit from France. They are probably still developing their unique sound, as the two tracks featured here are their first international release. They started as a string quartet but now create atmospheric pieces that have double bass/guitar/piano/saxophone/trumpet all contained within a plethora of electronics that engulfs the overall sound. This is very warm music indeed and at times is very intense with dark sections that almost scare. With varying styles, Volume 8 continue the tradition of bring quality to the market place. (Brooky)

JUAN CARLOS CORONADO.
The trouble with albums like this is that they do no good whatsoever for budding guitarists! Hell, this lad can play! Now whilst guitar-based albums are a good showcase for the guitarist, highlighting that they can play in a variety of styles and techniques, a lot of them fail miserably by completely misunderstanding that speed isn't the be all and end all. Coronado does, for me, on a couple of tracks, go a bit too far in the speed department, and sadly a lot of depth and soul is left behind. However, this isn't to say he can't inject feeling into his playing. On the softer, quieter pieces he literally shines like the proverbial beacon. Accolades for his playing have been flooding in, such as top ten guitar hero on 2005 and best instrumental recording of the year. Damn, it is good, but for me I just prefer the softer pieces where the guitar really pulls on the soul. Track 7 is especially good, reminding me of Bill Nelson's style. All in all it is a good showcase for the man's talent, and believe me, he is definitely not short of that. (Dw)

SMALL PACKAGES. Six Armed Man. SAM2
I think by now you’ll all be aware of the philosophy behind SAM. I’ve reviewed SAM1 and though the results bordered more towards discordant noise, with the odd moment of form and structure. SAM3 turns this completely around and the result is an excellent example of clever electronica and samples, bordering on dance, Kraftwerk and early human League. SAM2 is, conveniently enough, a mixed bag. The album seems to alternate between discord and harmony on the tracks here. Generally, the tracks are both rhythmic and recognisable, or are full of tinkering with samples and oscillations. The former tracks, you won’t be surprised to hear, appeal to me more. Track 4, ‘Motion’ is just excellent, with what sounds like a fuzzed-out guitar and drum rhythm. Likewise, track 9, ‘Three Part Convergence’, has a fine bass and drum rhythm, overlaid with sweet electronica. Track 10, ‘Authorisation for Mercy Obtained’, sounds by far the most conventional, although dark and brooding for all that – a double bass or cello drones away mournfully. Overall, another sound offering from SAM, although for me, it’s pleasing that they seem to be steering the experimental towards the rhythmic rather than the chaotic. (Liam)

LEO ABRAHAMS. Scene Memory. BIP_HOP. BLEEP33
Anyone who has collaborated with Brian Eno has got to be worth listening to and this guy has a long track record as he has appeared on several of his releases. Abrahams is a guitarist arranger and producer who studied composition at the Royal Academy Of Music. So enough about the CV and now to see if it has all paid off. Certainly these twelve instrumentals grab the attention and firmly fix your mind on the subject. The opener A Different Light contains beautiful electronic ambient music which at times gives the appearance of shimmering. The following track Below Ground has an ambient backdrop around genteel passages of acoustic and electric guitar and is absolutely superb. It surely must contain one of the most delightful riffs to be heard outside the Robert Fripp arena. I instinctively knew that is a great album and I am only listening to the third track called Anemone. It’s oh so beautiful and very pleasing on a spiritual level and it’s the ultimate relaxation music. Soon is mainly composed of what to me is reminiscent of sounds played backwards along with distorted guitar notes that do not offend and lots of reverb is heard towards the end. This is followed by another magnificent instrumental where all the instruments are carefully arranged to ensure that they don’t clash or overlap. The minimal use of bass is a master stroke that makes Pendulum yet another notable track where the guitars are mixed with effects and again echo is used to add to the mystique. Much louder is the following piece Signal with its almost raucous guitar effect competing with the sequenced synth riffs, which finely balances the composition. The electric guitar playing individual notes very slowly on an ambient soundscape is called Rings and is yet another delightful aspect of this release. Perhaps the closest he gets to simple guitar playing is the following track Love Unknown. The guitar playing is so exquisitely controlled so as not to appear flash and ruin the overall mood whilst attempting to show off. It was recorded at his home in East London and illustrates just how good technology is at reproduction. Having said that the ability to produce good music technically is not the only item of importance, it’s the music itself and Abraham’s possesses that gift. (Brooky)

CARL BURNETT. Life Before Midi: Naked. LBM 2005
This is refreshing in that what we have here is pure music, served up as a jam-fest; no rehearsals, no MIDI programming and no click track – just 100% live jamming. He’s got together with a few friends and just got on with the session. The sound is very much a mix of jazz, funk and of course rock. Carl himself is a very accomplished guitar player (and he’s been Grammy nominated too) and, together with his mates, has produced an album rich in intimacy and spontaneity. An inspired album. (Liam)

BMX BANDITS. Serious Drugs: Creation Anthology. Castle Music CMQCD1158
The BMX Bandits have stood at the epicentre of the Scottish pop music scene for two decades now. The groups revolving line up of players has featured key members of Teenage Fanclub, The Soup Dragons, Belle & Sebastian, Eugenius and many other of Scotland’s best loved bands, past and present. This anthology is cherry picked, by BMX Bandits’ Douglas T. Stewart and Francis MacDonald, from the band’s three albums and the singles, recorded for Creation Records between 1993 and 1996. There is plenty of musical styles and experimentation, but generally there’s plenty of clever vocal harmonies and semi-orchestral leanings. Power pop is never far away and it’s all intelligent, light, humorous listening. Great melodic pop guitars and a sound not too far removed for the West coast of America, albeit with a Scottish twang. If you were a fan of The Bandits then this anthology captures them at their very best. (Liam)

QUERELLE. Querelle Sink and Stove: SASR#17
Querelle, born and bred in Italy, but resident in North London, formed in 2001. Their first outing, although they flirted with local cult status, resulted in them splitting up without releasing any records. After emerging from their self-imposed exile, they continued exactly where they left off; producing exquisite noise that crossed from art-rock to full rock onslaught, combining haunting melodies and a fury of guitar that edges into feedback, together with bass and drum. This time round, they’ve managed to release split singles with Wow and The Dudley Corporation and have signed up to Sink and Stove Records. This is therefore their debut album, or, more strictly speaking, mini-album. Seven varied and fine-sounding tracks is what you get for your money. My personal favourite track is ‘Insect-o-cutor’, a drone of guitars, with the clipped vocals standing out amongst the cacophony. Querell are definitely worthy of your attention. (Liam)

DANIEL RACHEL. A Taste Of Money. Dust Records.
Well, well, well! If ever there was an album that deserved the term quirky, then this is it. Unlucky for some, but the thirteen tracks on offer here, I reckon, should be anything but for Rachel. A gallimaufry of sparkling, and original songs, although there are some subtle influences here. There's more than a hint of the suburban charm of Ray Davis and the political sneers of Dylan (The Bucket And Broom Song is a case in point). The picture of Rachel on the cover is slightly misleading, as it implies an acoustic set of songs, but the arrangements, orchestrations and brass (especially on Pearl) is brilliant and gives the album a full and rich sound. The true term of Indie shines through here, no trend following, no audio fashion statements, Rachel has produced an album that defies description other than fine songwriting. Yes, a damn fine album. (Dw)

INCIDENTALS. Six Armed Man. SAM3
I’ve reviewed SAM1 already and although the results here are much the same (electronica and samples, clinical and clean, PC based), overall there is more form and structure and rhythm to the tracks and less noise for noise sake (which, quite frankly, does my head in). A number of the tracks, with additional mixing and editing, would not sound out of place in a Techno dance club. In fact, track 8, “Go Crazy Smash Smash Disco, does indeed have a strong 80’s disco feel to it, and a title that feels like it has been badly translated from the original Japanese! Track 9, ‘Synthesizer with echo), is exactly that – a synthesizer with echo and other assorted samples. As I’m listening, the one thing that has come to mind is that this sounds a lot like early Human League – they too did much in the line of analogue and digital experimentation on their first 2 albums and EPs. So, in my book, this album sits more comfortably with me than SAM1, and had me thinking of ways to create similar tracks myself – although I shan’t inflict these on an unsuspecting public for a good while! (Liam)

ATARAXIA and AUTUNNA ET SA ROSE. Equilibrium.
This is limited to only 2000 copies and the packaging is somewhat different containing a glossy stiff paper folded A5 size outer cover acting as a sleeve and the two CD’s are fixed inside. These are by artists who are very different with the only common thread being that they performed in concert at the Church Of St Michele in Rovigo. So Ataraxia a four piece consisting of classical guitar/piano/percussion/female vocals who have chosen some of their previously released tracks that could be reworked for an acoustic environment. They call their release Strange Lights which has thirteen tracks and have given the songs a much warmer and intimate feel. The atmosphere is quite electrifying as the plucked and struck strings have a distinct resonance, which is naturally assisted by the careful use of chimes. The title track is most delightful and certainly has a very downtempo aspect to it. It’s a good album. The second CD consists of classical arrangements although these are for piano, cello and female voice and are more challenging. Although you may imagine that these CD’s are similar in nature but despite lying side by side in the packaging they are much further away from each other musically speaking. Logos starts with a solo cello and the background hall acoustics and then occasional intrusive percussion startles. Shouted spoken words then complete the opening track L’Art Et La Mort. This demands a lot of concentration and although melodic is quite a contrast from what has been heard before. It was recorded live and there is naturally a pause after the piece has finished and the applause. The next track is more normal in its approach as the piano chords are very sympathetic used with the cello and the female harmonisation soar effortlessly above the music on Caresses Aux Coeurs. The cello playing is quite experimental in places when it accompanies the shouted voice on tracks such as Gentiane Percuse. This is much more difficult to review and at times its quite exquisite especially when the soprano Sonia Visentin is in full voice and yet very different at others. (Brooky)

GENE LOVES JEZEBEL. Exploding Girl. TRACK TRA1054
So, this is GLJ debut album on the Track label. If you know anything about the band, you’ll know that they’ve been called hip, anarchic, gothic, rock etc…in other words, they defy a neat description. They have been around since Goth diverged from the early 80’s romantic scene and are currently a four-piece outfit. Front man Michael Ashton has a flair for the dramatic and this CD has tons of it. The title itself is a meditation on Wadris Idris, Palestine’s first female suicide bomber. In fact it’s an album that’s comprised completely of songs that Ashton penned about women who have affected his life. The songs are strong, well produced and the thought-provoking lyrics make it all the more intriguing. A wonderful album. (Liam)

ANTON BARBEAU. Guladong. Pink Hedgehog.
Another belter from Pink Hedgehog, and yet another grand album from Barbeau! I guess the review could finish there as it really does say it all. Not only does AB have a good sense of catchy songwriting, but PH have a good ear and the good sense to release it. The influence of Brian Wilson and the Beatles is undisputed here, even on the opener, the slightly strange yet magnetic Telephones And Singalongs drips with late period Beatles and from thereonin it's a roller coaster of great songs, most as catchy as hell. Songs such as Ruth From Leeds, Grapes On A Plate, I'm Just A Country Girl, the title track and K's Wet Whistle all seem to put the world to rights, and sure, there are one or two reflective tracks but generally the smile on the face of the listener will be broad and the feelgood factor is well above average here. The world doesn't seem such a bad place now..... (Dw)

DRONAMENT. Ambient Atmospheres. Practising Nature. PN008.
The label is new to me but it’s from the same stable as Databloem and is naturally of interest. Markus Reuter is one of the members of this collective who has put together a major ambient piece of work. Split into two halves, this is a very beautiful and mesmerising soundscape that is brimming with ideas and sounds. I reckon that you will have already made your mind up about this release depending where your musical preferences lie. It's obviously a long involved instrumental and there are some who could not last the duration and yet for the more serious listener there is plenty here to grasp. Ranging from sections with a beat to pure ambient which at times appears to swirl and then modified African singing or harmonisation are all to be found contributing to the full score. At times as your concentration becomes more intense the mind is startled by the crashing of percussion noises that shock the system and then the music changes to become much more laid back and filled with textured and ambient guitar soundscapes. The second piece is more ambient in nature and features some fascinating playing on the cymbals that becomes intoxicating after a while. The sharp ringing of the bell will make your ears resonate loudly while the melody continues playing against the moody backdrop and sounds of the forest. The lead guitar riffs, which are at times muted, really ought not to fit the overall score but it somehow it does. Holger Brune provided the idea and concept and his drones, samples and field recordings are to be heard throughout. I suppose the overall sound could be described as ethnic or tribal ambient. Not for those wishing to play background music, this is real music that requires your complete attention. Nothing less will do and for those willing souls the rewards are impressive. (Brooky)

EDGAR BROUGHTON BAND. Bandages & Chilly Mornings. Sanctuary.
The Edgar Broughton Band were quite unique really. They had a very distinct style that fitted in well with their tenure with Harvest Records. This double set actually captures the band quite well as it kicks off with the live album, Chilly Morning Mama, and then you get the studio album, Bandages. Surprisingly, they still both sound really fresh and with the exception of maybe a couple of songs, aren't dated at all. Admittedly there is that 70s feel and sound, but it's great! Hell, the live album's from 1972!, and yes, there are times when he sounds like Beefheart, scarily so! The live album has eight tracks and the studio has eleven. If you've heard of, but not actually heard them, then this album is a great place to start. As I said, it shows they could cut it live (for three guys they were a very, very tight outfit) and were highly original to boot. Great double set. (Dw)

Fonderia. Fonderia
Very innovative debut album here from the Italian group Fonderia. A melange of musical styles appears throughout, ranging from jazz-rock to ambient and from world music to funk. There’s also a strong jazz feel, in as much that there seems to be a fair bit of improvisation. Not only that but you soon lose count of the number and variety of instruments and effects that are used liberally – among others there’s the Hammond B3, Fender Rhodes, Moogs, Clavinet, guitars, e-bow, zither, trumpet, flugelhorn, turntables, tape loops, melodica, flute and so on. The album is wholly instrumental except for some spoken recordings. The band formed in 1994 and were dedicated to improvising and mixing sounds and styles and this album is representative of that. It is a clever album and apparently Fonderia have interacted with other arts - poetry, theatre, video and soundtracks for short films and documentaries for Italian national television. Indeed there is a strong visual feel to the tracks. Overall, a unique and enjoyable offering. (Liam)

Tickled Pink. Terpischore Polyhymnia. Talking Elephant TECD074
Just from looking at the other artists on Talking Elephant (The Enid, Wishbone Ash, Fairport Convention to name but a few), you know you’re in for a bit of Folk-Rock. Indeed, that’s exactly what you have here. They do tilt more towards the heavier Rock, rather than the lighter folk, but the old favourites of polkas, marches and sea shanties can all comfortably be ticked off. The 9 minute epic ‘Need for Speed’ is in my mind the stand out track – it does indeed sound reminiscent of the film soundtrack from some action/adventure film, including orchestral swirling mixed with the concertina! It is rather good though. The band seems to have a great time throughout the album, although the odd political message does get an airing. The one stumbling track as far as I’m concerned is their interpretation of ‘The Model’ – yes, I am talking of the Kraftwerk classic. It does start off ok – even the concertina sounds just about right, but then it crosses into C&W territory and messes with my brain. I prefer to remember the original in all its glory! Overall though a heady mix of Rock and Folk which could satisfy the needs of both young and old. If you are fans of some of the other classic bands mentioned above, then I think you should give this lot a try. (Liam)