A top review and a band that deserves some understanding as to their place in music by those of a younger generation.

As a teen in the seventies there was the usual plethora of sounds that had centre stage at the time from glitter to prog to punk but one of the most interesting albums that I was given at the time was 20 Golden Greats. The wonderment at the time was that I knew and liked all the songs but had never placed a name to them. Great album cover as well.

http://image.allmusic.com/00/amg/cov...94582y0dxj.jpg

Umm, I've been lurking around here for a while now :p:
Mountain Ash Band or Capability Brown pm? The reviews seem too good to ignore.
New names are always high on priority for me :D...Not able to find either of those :( (More interested in the former)

I know I said I'd do ten albums that should and have and would influence music. But I did five and that should be plenty for you all to get your grubby mits over. I want to start reviewing some other albums again, sure they might be influential too, and the next album certainly is. But I found that influence isn't all that important really, it's all about how good the band was then. I got a bit sidetracked in some of the reviews when listening to the albums trying to imagine what this would inspire to make.

At the end of the day influence is nothing if the work is just badly cloned, influence may create some direction in music. But at the end of the day a good artist/band will make a good album regardless of what came before and after. The search for influence I found is a fruitless one.

Recorded with members of the Fairport Convention there is no doubt that this album will be musically sound. However it is not the instruments here that make this album great, regardless of how good the instrumentals are. Here it is about a brilliant mind, with a beautiful voice. His most optimistic album in my eyes, this album is an incredibly uplifting experience. Time Has Told Me sets the scene for a truly beautiful album, the little instrumental tangents here complement the song brilliantly and lay a perfect lattice work for Drake's magnificent voice.

Differing from Dylan's often harsh sounds Drake sets himself apart not only lyrically but stylistically as well. There are some brilliant lines of lyrics in Time Has Told Me, as well as the rest of Five Leaves Left, and indeed his other albums. River Man is one of the true highlights of the album. Drake manages some truly haunting vocals that hang in the air seemingly forever. The lyrics are a jumbled almost suffocating journey, often contradicting but always keeping you on guard. The dark, atumnal sound is driven by a beautiful string arrangment composed by Harry Robinson and Robert Kirby, Kirby having worked with such artists as John Cale, the Strawbs and Sanny Denny really shines here.

Three Hours has some lovely rhythms and percussion that give an outworldish feel to it, almost certainly a reflection of Nick Drakes optimism at the time it really does drive you through the experience. The longest song on the album very often feels like the shortest, despite Drake keeping his vocal performance very much subdued the music very much creates feeling of the song. This is the first song to fully manage to get a grip of your emotions, after being set up by the two previous songs. Three Hours will set your heart fluttering and put your mind in overdrive, it is a true musical experience and the Fairport Convention members featured really shine here.

Way To Blue hits with a beautiful string arrangement complementing Drakes beautiful vocals, it is an incredibly uplifting composition. When you hear this it's painful how overlooked the album was when it was first released, that such beautifully composed songs with so much heart and effort could be overlooked at a time when music was truly appreciated is nothing short of a crime. The poetry of Drake really shines here it never feels awkward, and never feels forced, always remaining natural and true to himself and his emotions. After being pumped up by Three Hours the sombre Way To Blue sets your feet squarely back on the ground, painfully short it ends all to quickly.

Day is Done has some more beautiful folk melodies, but here it is the lyrics that thrive. The truly inspired lyrics here, too many to write out really do shine. You're forced to stop and listen, but that's exactly what should happen when faced with truly brilliant songwriting. It would take a long time to be able to sing along to, as would most of Drakes songs, however it is a very satisfying feeling to constantly rediscover these pieces of lyric. 'Cello Song is a brilliant little ditty, once again there is a contrast between the music and Drak'es vocals.

On this album there seems to be a constant power struggle between uplifting music and sombre reflective vocals and it creates a very interesting juxtaposition. Drakes quiet vocals are not featured very high in the mix, this was a risky decision but I feel it works incredibly well. It forces the listener to focus on the lyrical aspect and it puts the album very much in control of the listener. This power should definitely not be lost when considering the merits of this already brilliant album.

Throughout the album you very much get a feel that it is a young album, the layering gives very much a sense of faux development. It is very Naive and juvenile at times, this makes his later two albums especially Pink Moon a greater significance and sets up a very emotional trilogy. The engaged listener benefits from this knowledge, I feel the album will sound its best and have the most effect on a person that is intimately aquainted with it and the other Drake albums. A general knowledge of the person itself also adds greater meaning to the songs.

The Thoughts of Mary Jane is most certainly one of the most uplifting beautiful songs on the album that very much creates a feeling of longing within the listener. This control of emotions once again features and just shows how much of a grip the album can have on the listener. Man In A Shed is another example of brilliant juxtaposition, both the lyrics and the vocals handle a quite sombre subject matter while the music goes in a totally different direction. Again this creates a feeling of longing which makes the previous track even more powerful.

As Fruit Tree makes it to my ear I'd most certainly like to comment on how effective the acoustic instrumentals are in creating something that is very much different from other albums of this nature. It's hard to consider this an acoustic album simply because of how well and how powerfully the album is constructed. The lyrics continue to shine on Fruit Tree and it's hard to find weak points in the album at this stage. This is purely because the album has such a grip on the active listener at this point.

It is far to easy to simply put a Nick Drake album on and have it running in the background, but that is simply wasting what are beautiful songs and albums. To give this less than your full attention is indeed a waste of beautifully constructed songs. While a general theme runs through the album it is impossible to say that all the songs sound the same, the only thing that remains constant is Nick Drake's voice.

Saturday Sun is a fitting end to the album, supported by some lovely sad piano and a suprisingly upbeat Drake it provides a totally out of place ending track. That being said it is very much of the album, even if it is quite different and it lays a foundation of whats to come.

Musically this album is brilliant, but lyrically it is sublime, that being said, there are a few things that just hold it back. It's not so much individual songs or passages, there is just a feeling of unfulfilled potential, stifled by a naive outlook. Many favour this album over his other two main albums, however I feel it is a step below Bryter Layter and so is Bryter Layter to Pink Moon.

John Martyn is every bit as good as Nick Drake, yet he gets nowhere near the adulation. He is performing in a wheelchair these days and still touring. I only say this because Solid Air by Martyn was written about Nick Drake who was a close freind of Martyn's. Another great review but I have to say that I rarely listen to Nick Drake. His music sails perilously close to background music to me.

On another note-Mountain Ash Band. I would love to give that a listen.

Great Nick Drake review, I just got this album and was a little unsure about it to start with because as you said it sounds like quite a 'young' album. But I've grown to really enjoy it.

You're reviews are very well-written and insightful, by the way.

Drake's music is beautiful in it's simplicity and I would say Pink Moon is worthy of iconic status. The other two albums are also very solid, but I don't think they are as good as Solid Air. Since I did the review of that album a few months ago Lee it's really crept up my list and is now among my favorite albums in current rotation.

I think it's naturally though to glorify tragic figures more then those who stand the test of time. Hendrix, Joplin, Nirvana etc etc etc. All over rated when judged on their music catalog alone.

Yeah it is natural and I do like Drakes music but it becomes annoying when artists that are still making music nearly 40 years later (and still good) are overlooked. I am glad that John Martyn is appearing on your radar more and more. I recently got hold of his 1975 album 'Sundays Child' and all I can say is WOW. He is easily my favourite solo artist.

When I think of the artists who can be placed in a similar category like, Drake, (who I think is wonderful top review as usual Comus), Richard Thompson, Fairport Convention, Lindisfarne, Pentangle to name but a few I feel a bit stupid having not ever checked John Martyn out.

I was going to do all the three nick drake reviews in one sitting, but it got a bit too intense which is strange for me, I started writing very disjointed and worse than usual so I had to stop. I'm away for a bit of the weekend so if I don't get them done tonight I will definitely do it soon.

I will give Martyn a listen certainly, and I feel that I'll have to do a Fairport Convention review or two after the next two Drake albums. I get your point Jackhammer that Drake's music becomes very much like background music, however I feel that it's a shame to waste such beauty to have it lurk in the background. I myself am quite guilty of this though.

Mountain Ash Band was a fantastic listen Comus. I have to be in the mood for it but it is certainly a gem.

A most excellent review, one that Andy Powell would be very impressed with, I say this with some authority, he's my cousin!

Awesome jornal! A lot of great music here and the reviews are all good reads. :)

If you consider requests, I'd like to see a review on the album "Paternoster" (1972 I think it was) by the group by the same name. It's a curiosity, I hear, so it should fit right in.

Also, I don't know the album and I'm a little curious about it .. :p

@toretorden: I'll review Paternoster next after I finish the Nick Drake albums hopefully today, I think I'll embark on the next one now.

@jackhammer: Yeah I know what you mean, you do need to be in the mood for the album but it's a huge shame that it's gone by the wayside. On a more positive note there is a pub near ilkley called the Hermit if you're ever in North Yorkshire, it's about the same story but dunno if they know of the album. Never been myself but I'm close enough to want to go soon enough.

The aptly named Introduction starts off this beautiful album, which needs a little more context to review. With the lack of success of Five Leaves Left Drake was obviously a bit disillusioned that such a good album, hailed by his peers would fail as it did. This as evident by Hazey Jane II has changed his vocal style quite drastically, no longer the sombre yet youthful tone he has adopted a far more upbeat tone. This attempt at reaching a more mainstream audience is painfully evident, yet the upbeat tone seems to betray a deeper sadness.

The album has several more guest musicians, apart from Fairport Convention Drake is also supported here by Beach Boys' Mike Kowalski and Ed Carter, not to forget John Cale of Velvet Undergound fame, and various other session artists. With all these changes and guests Drake must have been very confident that he could succeed. However there seems to be a lot of holding back on this album, it's clearly not what he wants in my opinion. That doesn't make it any less of an album though, the underlying sadness and anger can still be felt in his voice despite the apparant upbeat and happy tone of the vocals.

At the Chime of a City Clock is a lovely little song supported by a brilliant string arrangement and a aptly played alto saxophone. The song progresses beautifully and does lift the spirit, it is the first on the album to attempt manipulation of the listener, however it doesn't quite reach since it is early in the album still. I'd like to note that it's easier to sing to these songs as well, not sure how significant this is or if it's intentional but the delivery is far easier to follow.

One of These Things First is quite a quirky departure, listing what Drake "could" have been instead of what he is, including a book, a singpost and a clock among others. The absurdity of the lyrics are betrayed by the confident vocal delivery despite the more whimsical music. This being said every time he sings "one of these things first" you can always imagine a smile on his face. This song breaks up the album well, it is a very nice distraction however it does mean that the next songs will be a slightly less effective in the context.

Hazey Jane I continues the feel of the album, I must admit my research isn't as thorough with this album as usual, so I am unaware whether it is a prequel to the earlier song. Either way it's a beautifully delivered song with Drakes vocals returning slightly back to the sombre feel of Five Leaves Left but never quite getting there. Many say this is a very melancholic album but I fail to see that it ever reaches true melancholy without reading extensively between the lines. The title track Bryter Layter is driven by a lovely melody, a second instrumental song with Drake only contributing guitar.

That Drake chose to have more instrumental work on the album is very positive, it shows further progression and a greater maturity, the whole album feels far better constructed than Five Leaves Left. Fly is one of the more confident songs of the album, a short but lyrically and vocally powerful song it works very well within the context. It also marks where I feel the arrangements start to tug on the heart, there is finally starting to be a more true control of emotions so well set up by Bryter Layter.

Poor Boy is the only song on the album to contain Backing vocals from Pat Arnold and Doris Troy, many will remember Troy from Dark Side of the Moon among others. There is a truly intese feel to this song very much supported by some more alto sax and the soulfully delivered backing vocals. Drake's lyrical ability shines here as with the rest of the album, but what really makes this song shine is the sudden intensity of the song. Often upbeat even in contradiction to the backing vocals and lyrics the musicianship here is a step above the rest of the album. The alto sax is absolutely brilliant and lends a truly organic feel to the song.

Northern Sky is a brilliant love song genuinely happy unlike the other songs on the album where a slight hesitation shows a deep set anger and regret. Again beautifully arranged and played, the playing with time on this song makes for a very interesting listen. Sunday marks the end of the album and what better way to end it than with another beautifully melodic instrumental.

This album sits only half a step if that above Five Leaves left, it is most certainly a more mature album, but also a more false album. Despite the fact that a lot of the optimism is forced by Drake he is lifted up by beautiful arrangements and his own undeniable talent.

Recorded in 4 hours over two days this album is the culmination of the musical talent that is Nick Drake. Completely solo using only his acoustic guitar and his voice apart from piano on the title track this is what Drake could do alone, and it is breathtaking. His last album before his death is certainly worthy of his name, and it has established his legacy and fame. The title track certainly sets the scene, apart from a small part of piano overdubbed it is simply Drake's beautiful lyrics and his guitar.

The simplicity of it compared to the first two lushly produced and arranged albums creates a stark contrast and it is the end of a tragic trilogy. Drake is now throwing caution to the wind, no longer concerned with his commercial success, he knows he is good and he's going to do what he thinks is his best. The result is astonishing, the guitar shines nearly as much as his vocals and lyrics. Surprisingly the result of this raw sound is a far more accessible album, the vocals are clearer and again more easy to sing along to. This delivery let the lyrics truly shine in a way not before seen on a Drake album.

The balance between guitar and man is met here in no way that can be done better even by the virtuoso guitarists of our age. The natural feel of the playing complements the absolute confidence in Drake's delivery and it is a beauty to behold. Road shows this confidence perfectly, the fact that he can play as he does shows that he has finally accepted that this is what his music should have been. While never exactly being catchy per se this album is the closest Drake ever gets.

This album is hard to review since the songs mainly all possess the lyrical quality and brilliant fingerpicking guitar. It is worth mentioning how well this album was produced by John Wood, I don't suppose he would have had much of a job considering the style of the album. However it could very easily have been ruined by overproduction. The sound is crisp but still raw and I feel that this is how Drake should always have sounded.

I have read reviews which consider this album poor in respect to his earlier work and even going as far as considering it to be less accessible. I very much dissagree with this, even the short instrumental Horn feels more accessible than the more lush instrumental melodies on his earlier albums. I feel the sparesness contributes to the fact that it won't take long to get into and get used to. A much better connection between artist and listener can be felt here, and while it doesn't have that overt emotional control like the other albums have it certainly has an undertone of it.

You have to discover it yourself, but the emotional control this album has in the context of the other two is astonishing. Considering the lush well crafted optimism of Five Leaves Left and the more mature attempt at mainstream that was Bryter Layter both leading into this raw stripped version of what Drak can do. The emotional journey of the three albums is brilliant and it is certainly something that I reccomend trying.

One of my favourite songs on this album is the start of the three strongest songs, Know, Parasite and Free Ride. The humming and vocal conveyance here is perfect for the guitar delivery, ending abrubtly into the more crafted Parasite with a perfect juxtaposition. Parasite is the lyrical strongpoint of Drake's career, and that is no mean feat, the beautiful mournful lyric here is perfect on the position of the album, it's getting near the end and we're finally shown the potential that this great young man had.

This is when the sense of tragedy truly strikes it will tug at your heart strings in a way you can't get from artists that lived and did what they achieved. The tragedy is more that he is well known because he died rather than for his beautiful music. I'm not gonna jump on the bandwagon and say that had he lived he would be the biggest star ever, but he would certainly have gifted us with more great music.

Pink Moon displays drake's true potential, although I have no doubt that if he had lived he would have created more great albums I very much doubt they would in any way be better than Pink Moon. It is a stretching of his talents, and a summation of his greatest writing while I said he reaches his true potential with Parasite I don't think he could ever grow beyond such brilliance. While Drake is no Bob Dylan, he was never political and I don't think he ever should have been, he was very much rooted in the folk era which was well on its way out by the time he started.

Either way Pink Moon is Drake's true masterpiece it finally showcases his musical as well as his lyrical talent. While he plays guitar on his other albums it has not before been thrust to the fore. Regardless of whether he had survived or not it was but a matter of time before this album would be considered a masterpiece.

Paternoster - Paternoster (1972)


Starting off with a latin chant and organs this album certainly hits the ground running, er well directly into obscurity. I'd like to comment that this will be my first listen through. The chant turns from Latin to English urging you to be good to your neighbour, the organ and vocals both create a tense feeling of expectation, when will it break and turn back. You're left wondering when the drums will kick in and right from the get go it starts to get a strong hold of you mentally. When it comes it isn't the climax you expect but an effects laden slow start with a lovely little what I hope is a guitar solo.

Strong, it already reminds me a bit of the Doors and "Red" era King Crimson with the guitar. The song fades and launches into Realization which early makes good use of silence, effect and time, continuing with the guitar work which truly shines early into it. The vocals feel a bit stinted, if they were just a tiny bit deeper it they would have the allure of Jim Morrison. Near military stule drumming complements a brilliant guitar solo and some more effects which give a very spacy feel to the album.

There is a sense of something epic slowly building here and the mood of the album already feels well established. Already I can see this is an aquired taste, but it is certainly obscure enough that only those that would like it would ever seek it out. Stop These Lines starts with a slow buildup creating an intense feeling with some fleeting guitar and brilliant layering moving into the return of organs and more synthesised areas as in the title track.

There is a lovely classical organ departure here that simply seems to suspend time before the track once again regains focus. There is certainly a sense of fusion about this yet it never quite gets there fully, everything continues to feel very organic and yet there is a definite sense of direction. Paternoster know where they are going with this even if it has a very improvised feel to it, the playing is very tight with everything but the vocals seeming to be in perfect harmony, even as they play against each other.

The guitar here is incredibly refreshing and uplifting, it has a certain extra quality to it that most definitely adds a lot to the album. Being a guitar man myself it is great to once again witness such brilliant solo's that defined the era yet have mainly been forgotten. There is a heavy tinge of pyschedelia here very much along the same lines as the Doors however much more musically diverse.

Blind Children keeps the organ and the guitars very much alive, and beyond this the vocals finally start warming up to the standard of the rest of the album. Or at least the vocals have grown on me, it is very much worth mentioning here that the rhythm section is incredibly tight in keeping the rambling miasma of guitar and organ in line. There is very much a noxious feeling of intoxication eminating from the album, it very much sucks you directly in. The only sobering influence is the well crafted rhythm secion which sometimes involves the organ if the guitar is trying to fully gain prominence.

Despite the Length of blind Children and Stop These Lines they very much feel short and to the point, even with the musical journeys and somewhat extended jams that emerge. The songs never feel overly long and as a result there is a feeling of loss with the album, much to its credit. You get the feeling that this will end far too soon, which will most definitely make impulsive listening likely. The end of Blind Children is very reminiscent of Pink Floyds' Welcome to the Machine a song which will be released 3 years after this.

Old Danube starts with a fast beat and some more lovely repeating melodies that all add up to a very whimsical psychedelic feel and sound. There is a genuine feeling of fun here which can often be absent, however the song quickly changes pace to allow for the vocals. It has to be said that the lyrics are difficult to follow on a first listen since there is so much more going on musically. Again this adds to the albums allure, making it a larger effort to explore, however for the prog fan that's the fun in music, exploring all the different avenues of the sogns and the lyrics.

The Pope is Wrong starts off doing the exact opposite of the title, it treads forwards carefully, adding some melodies slowly and feels very much in no hurry to start. Suddenly however it develops into each of the musicians playing a completely different song to the other, somehow it comes together well once again supported by brilliant rhythm. The overall effect creates a very intense first half of the song, that like most of the others on the album quickly changes into something completely different.

Apart from the obvious Doors influences this album feels two or three years ahead of its time. Comparisons are to be made with King Crimson with 1974's Red and Pink Floyd with 1975's WYWH, even if the latter comparison is not very substantial. The album then goes towards the final song, aptly titled Mammoth Opus O, starting very much like The Pope is wrong with a slow careful if disjointed start. It builds up and eventually develops a form of identity supported by some quite whimsical melodies that can even be described as childish.

The military style drumming returns here and you suddenly expect the organist to play "pop goes the weasel". That's not to say it doesn't sound great, it strings you along, adding on the context of the previous songs, and it works brilliantly. If you listen to the lyrics here they are brilliantly nonsensical adding a very psychedelic feel which very much sums up the album. It would be apt to mention they're an Austrian band so the English lyrics aren't expected to be the best, but they still do it very well. There are various changes in tempo and direction here that adds to a very disorientating feeling which is exactly what it aims to do.

The album here has been created with several goals in mind I'm sure, and they've succeeded in all of these, however they are somewhat let down by the vocals, a certain lack of flow and most definitely a lack of direction between and during the songs. It is certainly a brilliant album and definitely deserves a listen.

Great review, Comus :) Thanks a lot!

I wanted a Paternoster review because I thought I wouldn't have time to listen to it .. but my curiosity got the better of me and I got a hold of it and listened to it on the way back from work. By the time I got back to where I live, I was on the last song.

You are a bit more positive than I was on my first listening. I thought at times, the drums were about as tight as wet toilet paper (for example about 3 minutes an onwards into "Blind Children") and the guitarist seems to mostly improvise randomly on one string throughout most of the album, making the guitar fight a bit for attention with the vocals on some tracks. It makes the guitar slightly annoying at times and makes me think some chords or even riffs should be in order. They paint some nice soundscapes on this album, like on the track "Stop These Lines" where they make some of their instruments sound like wolves and owls in the dark .. or at least, those are associations my mind came up with. However, I miss a richer feel of the sounds, possibly more reverb on the vocals and a chord every now and then on the guitar would do wonders, I think. As a whole, the album feels sombre, dark and a little depressing, maybe also a bit repetitious. Depending on who you are, maybe that's not a bad thing, but I feel a little light (representing here also some diversity in themes) makes the shadows even deeper.

On a more positive note, the album did pull me in quite a few times. As you probably don't know, I'm currently way up in the norwegian arctic where the polar night has set in for full. Walking in the crisp cold in the darkness while listening to Paternoster was at times strangely fitting and even sent some shivers down my spine on one occasion or two. The songs are definetly mood-setters making me think many of them would fit specific use, like music in a film for example. However, the whole album from start to end feels a bit lacking for me, as if Paternoster's ambitions were a bit too high for their abilities. The production is slightly lacking in areas - as I mentioned, some wet-paper drums and annoying guitar (IMO) and nearly fulfiling soundscapes, but not quite. However, a great moodsetter and definetly a fun curiosity to show your friends now and then.

I didn't really mean to write so much, but I guess asking you to review the album made me a bit analytical myself as I was listening to it. :)

This album has a huge reputation to live up to, so I go into this review expecting something truly special, and from the start there is already the huge sense of experimentation that I was expecting. It is clearly very ahead of it's time, it sounds fresh even by todays standards. In Kalyani there is already some very interesting effects being put to good use and it makes for a very intense, refreshing listen. The end of the track and the transition into the next track is beautifully crafted and creates a very intense feeling.

You Can't Ever Come Down introduces some well played guitars and some brilliant vocal looping. There is an obvious psychedelic feel that is good enough to even define the genre, however it does it in a way that is so far above that of the normal psychedelic bands that it sets itself very much apart. All the first three songs act as parts of one larger piece "The Sub-Sylvanian Lithanies" it feels like a very concious attempt to create something so different, so fresh and it does just that. It is very obvious already why this album is held in such high regard. The unusual effects and instruments create an incredibly eclectic mix that simply drives the album forwards and makes in incredibly interesting.

Right now I am wishing as must everyone else that has ever heard this album not under the influence that I had some acid or a big fat joint to truly appreciate everything as it was meant to be appreciated, then again I doubt I'd be able to review it as well. As moonsong ends you are thrust into American Bedmusic and Patriot's Lullabye, which is a lushly arranged piece with some beautifully delivered vocals featuring some brilliantly executed effects. The whole feel is very sobering, it brings you back down to earth, and true to it's name relaxes you as any lullaby should.

The album then slowly progresses towards Nighmare Train which features some very confidently arrogan vocals and more unusual instrumentals and a lovely little rhythm. If Lullaby puts you sleep, this track will very aptly give you nightmares, the album has been perfectly crafted to reflect the outward concepts. You can feel this albums effect on progressive rock which at the time was blundering its way into mainstream, this album would certainly have helped that along.

There is a incredible feel of direction in this album, you are most certainly left feeling that everyone knows their part and exactly how it's going to turn out. Whether this can be credited to brilliant production, planning, musicianship or all of the above is unknown. The album feels very genuine yet also mechanical and this juxtaposition makes it an increidbly interesting listen. Invisible Man feels very much like a standard jazz song that has had many added layers added above the guitars and rhtyhm section, including the vocals.

American Bedmusic ends with an old-time ragtime tune Mist 4th of July with all effects, including the record scratching effect that makes it feel very genuine. This brings us into part three of the album, Gospel Music for Abraham Ruddell Byrd III. The instrumental Gospel Music very nicely breaks up the album and presents itself as a very well played, if quite outwardly standard seeming jazz song. The whimsical feel of this song will refresh the listener and adds a further direction to the album before Part IV.

The Southwestern Geriatrics Arts and Crafts Festival stats with the Sing-Along Song, which is a perfect and even more whimsical departure from the rest of the album. With a very upbeat melody and an actual sing-along at the start of the song it sets the scene for a very alternatively psychedelic part of the album. Instead of relying on the standard psychedelic feel of the era it sets the scene by creating something that feels very old yet incredibly refreshing and ahead of its time for the type of album that it is.

The fact that it encompasses early 50's style music as part of the Geriatric concept feels very natural and it shows a form of reverse experimentation that is quite uncommon even today. The Elephant at The Door often feels like standard psychedelia but turns on a penny, there are some lovely uses of silence and time here that make me feel right at home. The extended instrumental jams here can sometimes lose direction but surprisingly it works to it's favour when it is eventually brough back in line.

The whole album feels a lot shorter than it actually is, it controls time perfectly and runs through in a way that makes you want to listen to it again once it finishes. Leisure World contains narration separated by a soft folk song, and ends with what sounds like something either in intense joy or the death throes of an animal. The album ends with the melodic reprise of the sing-along song.

The album as a whole plays like a masterpiece and very much deserves the hype surrounding it, the use of effects and unusual instrumentals works very well as a whole.

Fantastic review for my favourite Nick Drake track. There is something so quintessentially English about Drake's melancholia.

I sort of agree with some points, in retrospect maybe I was a bit too positive but I had just come off from listening to the dreadful new GNR album and it felt so good to listen to something that was actually properly made. I stand by my score but I can certainly see your point.

I need to correct the two mistakes I made in those sentences, the nonsensical "played the playing with time" without the needed comma, and the like meant to be "unlike". I really need a proof reader.

We Interrupt this Review Corner for a Eulogy

No longer shall we be blessed by the pitter patter of ****ing metal, no longer shall we enjoy the long nights being kept up by the unholy wail. On September 29th Enslaved was involved in an unfortunate accident, the release of their new album. The utter terrible nature of the album killed the band as Isa and Ruun had nearly threatened to. Not even a course of antimardraumbiotics would save the band from their untimely death. While we must mourn their passing there must be some good to come from this, I have yet to find it, but at least we can still enjoy their music from 2003 and earlier, and boy it was some fine music. From the early demos to the first true EP release Hordanes Land all the way to Below the Lights they released gems aplenty, but now that has been silenced forever.

That the band that created the epic “Større Enn Tid, Tyngre Enn Natt” will no longer be able to gift the world with such beauty is the true tragedy here.

I'd completely forgotten about this one, wow, how did you ever come across this?

My dad had a copy when I was growing up, we were talking music on the phone and he mentioned it, so I checked my sources and someone had a good rip. It is a quite well known album to be honest so it wasn't that hard to track down a copy. Regardless I'm very glad my dad chose to remind me of it.

I tried listening to this album on my little mp3-player, but some psychedelic distorted screeching sounds became too much for me as I have these little earphones (what do you call them?). I had to listen to some Dio instead .. :p

I will give it another go, though, your review intrigues me and this certainly seems like a weird little gem.

Well it’s long overdue for me to revamp my review system, no longer will I listen to an album and review it while I’m doing so. I’m going to put a bit more time and effort into each work, since that’s what these albums deserve. I will impose a 500 word limit on myself, and if that still leaves my reviews overlong and rambling I will cut that down by 100 words.


For the record this is regarding the 1996 Fitzcarraldo not the 1995 release.

Managing to do the amazing, the Frames here manage to be gritty and polished, it’s an interesting juxtaposition that definitely do them no harm. The added depth that’s created by adding small segments of rough guitar into a more polished song work very well, especially in Revelate, Monument and In This Boat Together. The whole album plays with a nice ambience that follows you from track to track, interspersed with some really nice guitar solos. The use of layering to create ambience is done very ably throughout and it’s clear that the band know what they can and can’t do. You won’t find anything here that you haven’t heard before, but the mix can be called unique to a point.

The high point of the album for me has to be the title track, the slow song sticks with you, it’s filled with pop sensibility and lovely breaking melodies throughout. The folk influenced instrumental passages that litter this track make it more than just an ordinary hook oriented song. It sticks with you and immediately you want to get to know the song better, simply to enjoy the pleasure of singing along.


At times the album manages to feel very organic and heartfelt, it manages to make up for the apparent lack of experimentation. Emotion is conveyed very well through vocalist Glen Hansard but even better by Dave Odlum’s guitar at times. Some small little licks and solos that seem quite randomly dispersed within the songs have an immense amount of heart and sound simply sublime.

Being only 12 years old now, the album has managed to age quite well, I can’t say that it will continue to age well, it feels very much of this era now but lacks a certain timeless quality. Parts of the album seem undeveloped and it’s obvious that the vocalist can do a lot more than he shows on certain songs and it lets the whole album down. On a more positive note the guitarist is allowed to flourish on certain tracks, on a first listen around it felt very lacking, but now I can see the album is laden with lush guitar parts. Often it’s the subtle guitar playing where Odlum is at his best. At times, as on Say It To Me Now and Monument I get a sense of Irish attitude and swagger, slightly repressed but apparent.


The overall strength of the rhythm section becomes apparent the further into the album you travel, it constantly works to keep the vocals and guitar in line. The overall ambience of the album is driven here by the rhythm section and it’s very much to their credit considering the amount of work Odlum puts in creating his own sound.

Fitzcarraldo is a very solid album, however it lacks masterpiece potential, it would be a valuable addition to any music library. It’s one of the finest recent Irish albums I have heard, it is most certainly a grower, especially the hookier songs like Red Chord get stronger with each listen. Good, not great, and that’s what separates the sevens from the eights.

Excellent Excellent album. I love the sweet melancholia that runs throughout the album. Top review.

For the next few weeks I’m going to be doing another little project, while my last influential albums only got to 5 instead of 10, I will be finishing this. I’m not going to limit by Journal to only these next 10 reviews, so if I want to review something else I will.

As the title suggests I will be reviewing 10 great albums from this decade, all coming form 10 different genres; Psychedelic/folk, Ambient/Electronic, Folk/Viking Metal, Indie/Folk, Avant-Garde, Black Metal, Death Metal, Progressive Rock, Post Rock and Shoegaze. Some of these albums will be obvious, some not so obvious, some will be very well known and some will be quite obscure. I’m not going to reveal what album will be reviewed in relation to what genre or what genre I’m doing next.

I have all the albums that I want to review written down so I don’t have to worry about that. My first album I will be working on later tonight, so you might get a review before the weekend, and for the weekend I hope to do two more. All of my albums will be done in the new style with some extra information available. And as usual if you’re interested in any of them, just state your interest.

My first album with be in the Psychedelic/Folk Category.

Little Kingdom is a beautiful folkish psychedelic album that plays like a beautiful, calming dream. The album throughout is held together by lush acoustic instrumentals and torn apart by slow squealing psychedelic guitars and effects, despite the interruptions the first half of the album feels incredibly smooth and calming.

What sets this album apart is the lovely melodies that course throughout, beautiful in their simplicity it adds huge amount of depth. The repetitive quality of the songs simply adds to the effect and atmosphere, Citay have embarked on a grand scale plan here to create something stunningly beautiful, and they most certainly have achieved that. Sparse vocals add to the mystical and distant feel of the album, and most certainly heighten the calming effects.

The instrumental build-ups become incredibly satisfying as the album starts to tug at your mind and heart. The first few songs build to relax the listener and eventually take complete control. There is nothing completely special about the instrumentals, there are no huge displays of talent, but it all fits together so well, it’s all so appropriate. Citay’s musicians have nothing to prove by showing their talent and thus don’t let it get in the way of creating some brilliant passages, staying true to the psychedelic mindset.


A Riot of Color has an absolutely brilliant solo that plays through most of the song, helped along by some brilliant melodic effects on loop it sets your mind on a spinning path to destruction. It takes some effort not to be a drooling mess by the end of this 45 minute journey, but why would you want to resist it, well apart from reviewing the little ****er. My advice would be to sit back with something warm and intoxicating, or even better, toke up and just soak it all in.

What overwhelms me about this album is how incredibly warm it is, today I was listening to it on my walk to and from university to get some more ideas about the review. It happens to be snowing at the moment and I just felt so warm and uplifted by the whole experience, the lushness of the album is quite breathtaking. The wholly instrumental tracks are some of my favourite instrumentals and definitely my favourite of this decade.

The relaxed atmosphere that is created throughout Little Kingdom sets you up for the cutting guitars and effects that kick in every now and then, and eventually come out in full force on the final two tracks Former Child and Moonburn


This album is a brilliant way to start the showcase of great albums of the Noughties. It is a must have for any self-respecting indie, folk or psychedelic fan who consider themselves to be with the times. Even the casual listeners will enjoy the calming often repetitive melodies, great for what it is, you should most certainly check out this solid journey.

I just read your Nick Drake reviews and bravo. Very nicely done. I myself am more partial to Five Leaves Left, but they're all brilliant. I'm looking forward to these noughties reviews.

Great review of a band I didn't know until today. Now I'm listening to the album while leaning back in the chair with something intoxicating (a cold beer and a whisky) - like you suggested ;) . I'm still on the first track, but from what I've heard so far, I predict future spine chills and I am sure I'm gonna grow very fond of this one indeed!

You write that it goes well with snowy weather. I'll try it out myself tomorrow morning!

We all have a certain demon inside, and every now and then you need to feed that demon in order to retain your sanity. My demon just happens to be an extreme metal fan, and this bitesize chunk of brutality is just what I need to satisfy his thirst. With the final return of Mikael Åkerfeldt on vocals this EP is exactly what you want from Death Metal today.


Before you say anything, yes I know it’s not an album, and yes I know Bloodbath have released an album after this EP, but I haven’t got around to listening to it yet. Anyways let me get all the metal cliché review phrases out of the way first, this EP FUCKING crushes, demolishes, rapes and is generally br00tal, it is indeed a veritable crushfest.


The sheer heaviness of the guitars and the absolutely brilliant delivery of Mikael’s vocals here is what makes this EP brilliant. They’ve crammed as many heavy riffs, surprisingly catchy vocals and fast as **** drumming in here as they possibly can. Sprinkle it with some very awesome pinch harmonics and you have the makings of what makes Death Metal good.


But metal aside, this EP is very well constructed, it has great flow and structure, it feels genuinely organic as well which is rare. The melodic aspect of the EP is surprisingly considering how generally brutal the whole release is.


This is a must have for those of us with that demon inside that constantly hungers for the brutality that is only available from certain kinds of Metal. It’s very short and to the point and it makes a good case for me to finally check out the full release. Since it’s an EP my review will be out of 5.

Joanna Newsom, whos musical career started here with so much promise has managed to make one of the great albums of this decade. Driven by strong and confident lyrics with competent harps and a voice, that well… a voice that would stop traffic in the way Monroe’s upskirt shenanigans would. The album starts on a very strong note with the first two songs being some of her stronger efforts.

I must say that her voice will be your biggest stumbling block when it comes to being able to appreciate this brilliant music. She often sounds like a deranged child with several speech impediments, but once it gets under your skin you’ll love her forever. If you manage to listen until Inflammatory Writ you’ll pretty much be a fan for life. Sadie is the ultimate test, but after the introduction it’s incredibly satisfying.


My favourite song on the album has to be Inflammatory Writ, the strong, confident and rolling lyrics here are supported by a simple piano which perfectly complements Newsom’s vocals. The aggression and sheer strength of delivery works so well, and as for her inflammatory writ? Well she wrote it and was not inflamed one bit! Some lines in this song show that she is capable of being one of the great songwriters of our time. You’ll find yourself addicted to the sounds and little bits of vocals that she delivers as you get more and more intimate with Newsom’s voice, and it’s incredibly entrancing.

The relaxing feel of songs such as This Side of the Blue let you simply sit back and relax and enjoy the overall experience, and it adds a completely new depth to the album. I’ve always found the whole album to have a dark underbelly, a pretentious voice that runs through saying “I’m a bit to smart for the average listener”. And I think it just might be right, songs such as En Gallop and Inflammatory Writ do exude this feeling, and for me it makes the whole album so much stronger. Her confidence in being able to create something that reflects her underlying intelligence and eccentricity just makes the whole experience even more palatable.


This album gets better with every listen, there’s nothing better than being able to follow the lyrics and know when your favourite parts are imminent. The lyrical qualities here are absolutely stunning and it has rekindled my love for the written (sung) word. Joanna Newsom here has created something truly special, a folk album that not only has interesting and appropriate music and vocals; but also a lyrical aspect that outshines them both. It feels very organic and the whole albums flows with ease. The Milk-Eyed Mender is without a doubt the best release from 2004, get it, get it now, PM’s are as always, welcome.

Very nice review and thanks for turning me onto these guys! I definetly agree that this album sets a warming atmosphere that you described. I am definetly going to get into some more of this psychedelic/folk.

Shadows of the Sun doesn’t start with a bang, it’s not that type of album, it does not make an immediate impression in the way you’d expect. This is an album that will stick with you long after a first listen. This album delivers a feeling, a relaxation that is so hard to replicate. Garm’s beautifully delivered vocals here are his strongest effort since his black metal days, and that’s saying a lot.


All this being said, Shadows of the Sun comes off as a very “safe” album, but I can’t say that it honestly detracts from the experience. The vocals often feel quite clumsy, especially in All the Love, but considering Ulver is a Norwegian band it is quite forgivable. That being said the general feel and beat of All the Love delivers just what is wanted, and yes I’m going to be talking about music altering emotions again; sorry. Once the beat fully kicks in it takes over, Eos will have completely disarmed the listener and once All the Love fully kicks in it is hard not to get sucked in. It’s hard to describe the desired effect here, but it’s more a trance than anything fully emotional.

I must say that the production on this has gone above and beyond, parts of this album sound very crisp, and it flows really well. Ulver have however realised that some of these albums shouldn’t sound perfectly crisp and I think this realisation has added so much to the full atmosphere of the album. What will get more and more apparent as the album goes on is just how much thought has gone into the composition and just how great Garm sounds now. It hearkens back to Kveldssanger (albeit far less harsh), Ulver’s true masterpiece, and this is definitely a good thing.


The album is very heavy in an ambient sense, there is a lot going on, and it can often be hard to take it in, it’s very dense and it just leaves you with the feeling of a foggy morning after a night out. My favourite song of course would have to be the cover of Black Sabbath’s Solitude, which is done so well here, and as always Garm’s vocals shine on.

Overall, Shadows of the Sun is a brilliant return to form for Ulver, who I have found unlistenable after Nattens Madrigal. It seems they’ve finally found a way to make good albums in this new experimental vein and I hope that this is continued. Ulver have made managed to create a lovely, lush and believable sonic experience, it’s beautifully ambient and incredibly relaxing. The only downside is that it’s too bloody short.

From what I have heard of Joanna Newsome I like. I think she is one of those love/hate artists but I am a sucker for Female vocalists.

Sorry to digress but I would love to hear that Leaf Hound album sometime too.

I got my hands on Joanna Newsome after reading your review. It sounds like a good album and my girlfriend also seems to like it .. it's nice to get some music we can both listen to (she doesn't appreciate everything I put on). :)

About Leaf Hound, in case you're not aware, they got together and made a new album in 2007 called Unleashed. I have it, but I haven't listened much to it, so I can't tell you if I like it or not, but according to wikipedia, it's supposed to be good.

I'm listening to the Leaf hound album now and I have to say it's bloody brilliant. Great dirty rock with a swagger. Like Led Zep but 20X better!

Do you have any Family BTW? I'm desperate for their release 'Bandstand'.

I know, Growers of Mushroom just keeps on growing on me, on that subject, yes Tore I am aware of their new release but I'm rather tentative about hearing it.

On the subject of Family, no I don't actually have any of their work at the moment, I can ask around for you since I'm quite interested as well. As for both the review corner and the prescription at boots, I have an assignment to hand in later today (I just woke up and it's quarter past three in the morning) so I imagine I can have a new review for both my journals by saturday, or even friday night.

Anyone who knows me will know that I recently dismissed Kayo Dots most recent album for departing from what I felt made motW and the first to KD albums brilliant. It’s all about the energy and most of all about the metal. Frankly Toby, do whatever the **** you want when it comes to music, but as long as you release under the Kayo Dot name you better make sure to have some actually cool bits in it!

The album stats very quietly, almost apprehensive, there is some lovely use of silence which I find absolutely mesmerizing. It is a perfect start to the album, it warms the listener up to the experience of the album. They Aren’t all Beautiful is what made motW so bloody brilliant, the harsh unexpected edge after such a calm introductory track. That being said, there’s a certain edge that keeps it so far from metal itself, it merely incorporates it into the music.


I’ve always felt motW have more in common with say Caravan than with any metal band, there’s just a bit more pressure on the music, the band is clearly trying for a greater impact and it shows. The result is a far more focus effort (I know this sounds crazy but bear with me) than the 70’s style prog which I feel it bears great resemblance. This album is perfect to compare to Opeth’s Watershed with the difference that Opeth is more on the metal side that motW.

Heaven and Weak shows exactly what motW is capable of, they’ve built up two sides of a story and now they start the trial, the perfect amalgam that is avant-garde. Anyone who can listen to this album and not find themselves entertained must have sever mental deficiencies, there is so much to take in and it works so well in its own favour. Everyone will have their favourite parts, whether they be the metal or the more proggy elements but I doubt anyone can say that they’d have the same impact, or be as palatable without the combination of the two elements.


Whenever I listen to this album I feel a certain insolence in the production seep through to the listener, there is a definite sense of superiority on display here. I’ve always felt that with this album especially they knew it was going to be good, and they knew anyone who disagrees would be completely and utterly wrong. I must say this pays off in spades.

The album develops through in the same vein as before but never loses the meaty edge that makes it so great. There truly is never a dull moment here and it’s ultimately incredibly rewarding to properly familiarise yourself with the album fully.

In my opinion Bath is maudlin’s masterpiece, and it’s all held together superbly by an utter feeling of superiority, this album knows it’s better than you, and it’s certainly not afraid to say it, again and again! It's also worth mentioning that every time I finish listening to this album I feel so intensely happy that it's difficult to even imagine ever being sad.