Progressive Music reviews page 15

Nosordo Ljudbilden & Piloten : One Hundred Fifty-Five (S,rec.2005-2007,pub.2008)****

Ljubilden & Piloten is Kristofer Ström’s first release after various limited edition singles and EP’s (paired with such names as Kama Aina, with whose style, and also, its joy-of-life-increasing, rhythmical-fresh sound collages, he very much fits, and Gregg Kowalsky/Osso Bucco), and some short film and theatre commissions. This music will easily be associated with folktronica, while it is actually being made without much electronica, effects and PC, if any ; this has all the effects of the style, like a rhythmical collage of sounds, with loop-like guitar rhythms, and built from carefully compiled pleasant sounds. For the rhythms, Kristopher compiles like a sound collector in the kitchen or dining room. The ticking and pickings work like musical boxes, clicking clocks, or walking toys on wheels, ad are moving forwards like with fingertips ticking enjoyment, or why not move your hips or shoulders or sing along a bit while enjoying the music. On “Pianosong 2” the guitar loops sound like raining or dripping on a guitar. Mostly it is the piano tunes which are freshly dripping over the compositions. Other colouring textures are provided by glockenspiel, accordion, zither and other guitars. A few other improvisations are provided by wordless vocals (vocal harmonies) and trumpet or is it cornet improvisations. I did not immediately notice but some other used instruments were Kristofer's dog (Elmo), a glass, and an egg slicer. After works, like from Hans Appelqvist, Kama Aina, and such I don’t know too many examples as rewarding as this, so for me this is a very nice discovery !

Kristofer Ström seems to be known for animation works as well (he also prepared Minilogue’s video), with some national and international rewards, and some governmental support as a result. And for the digipack we also get a whole collection of playful collages, not only on the package, but also with a whole art booklet full of playful illustrations.

Audio : http://www.myspace.com/ljudbilden

Video : http://www.vimeo.com/627160

Other videos from Ljudbilden : http://www.vimeo.com/ljudbilden/videos

Homepage : http://www.ljudbilden.com/

Label info : http://www.nosordo.com/nsrd009.htm

Info : http://www.klicktrack.com/shop/release.jsp?r=66347&cp=20

Other review : http://www.earlabs.org/release/shortee.asp?reviewID=994

Distribution in Europe : http://www.dense.de/.. / Staalplaat (D)/ Dot (S/N)/ Norman (UK)

Die Stadt Music Fovea Hex : Neither Speak nor remain silent : three

"Allure" (EP) (IR/UK,2007)****'

“Neither speak nor remain silent.” Accidentilly today I was reminded of the thought that it is better not to mention the bad thoughts/remarks because they multiply with its slip of the tongue, because such thoughts are not requesting or recalling a fundamental moment or opportunity for real change. With a different potency, many of such rapidly conceived momentual thoughts can become silent too, when able to lay down with its random wind of circumstances. All moments which stimulated the negative thought could as much recall an awaiting character, who desires, as impatiently, its opposed stimulation. On this part three of this series of dark beauties, voices of the pasts are remembered, just like the sea sound in shells, in its enclosed form of essence, even when it became absent of its original breathing inspiration.

This new album starts partly acoustic (zither,..), diging deeper into penetrating thoughts. It is sad-and-still-hopeful, sounding natural in its own cause-and-existence of things. The natural sounds make a connection with these thoughts, while all music and other expressions, linger on like a bed of harmony drones, on a human expression level recognisable, but which are at the same time also entirely abstract and transcendent, as an equal part of a thought environment, as well it is as embeded in a region of expression reaching for direct contact and recognition.

Clodagh Simonds plays zither, harmonium, made string arrangements, used her thoughts in voice, plays glass, piano, beds of shimmer, and made some bodhran treatments, cluster formations, backdrops. Additional help was provided on track 1 by Cora Venus Lunny on violin, John Contreras on cello, Laura Sheeran, voice and Steve Wilson on treated guitars and bass drones. On track 2 Robert Fripp plays guitar ; Donal Lunny : bodhran ; Michael Begg : piano treatments, provided sounds/implants and a specific train sound field recording. On the last concluding track Percy Jones plays subaquatic fretless bass, while Goeff Sample took care of the field recording of birds near lake.

This third CD is a beautiful dark conclusion, and is like a black closing curtain spreading its shadows over the last memories of some particular period/day before the silent night and inner peace finds its concluding and transforming balance.

Audio : http://www.myspace.com/foveahex

Info : http://www.janetrecords.com/

Label page : http://www.diestadtmusik.de/

Die Stadt Music Fovea Hex : Neither Speak nor remain silent : one

"Bloom" (EP) (IR/UK,2006)****'

It's nice to hear how singer Clodagh Simonds after Mellow Candle didn't stop exploring, first in further collaborations, now cumulating and having transformed herself into this new group, Fovea Hex. The music reminded me only vaguely on the "Murder Ballads" by Alasdair Roberts (voice and electronica), but here all tensions and content is seeking the harmonious. Three tracks only for a 17 minute concept, but it is a perfect hearing which is also in time and concept nicely balanced. "Don't these Windows open ?" has a fundament of opening up and beautiful vocal subtonal harmonies (by Clodag Simons, Laura Sheeron and Brian Eno), becoming a chorus of wind with chime-like zither, after a voice sang "cry baby cry for your father, why don't these windows open ?" with more changing subtonanilities which are slightly sad-harmonious, like voices from the spirit of the lost voice of man like on a deserted field after battle, which is calm and peaceful now, but also after a saturation of a certain sad situation. The music works like a soundtrack from an inner vision, which is expressive on a human level, with the whole environment is sharing the thoughts in sounds. Recommended. I'm sure that people who liked some of the Pianomagic releases will find beauty here too.

Collaborators : Clodagh Simonds (former Mellow Candle singer, and some collaborations with Mike Oldfield on "Ommadawn") : voice, zither, harmonium, keyboards, Laura Sheeran (folk singer) with contributions from Brian Eno : harmonium, fretless base, voice and Roger Eno : harmonium (both brothers, but especially Brian are standards and launchers of the ambient genre ; Brian worked solo before, with early Roxy Music,..of which Apollo and filmmusic, and Cluster are amongst some of my favourites); Andrew McKenzie, (from experimental music group Hafler Trio of which "A thursty Fish" is amongst my favourites) : 12 strings and organic matter, and film composer Carter Burwell : disappeared piano.

(Limited edition of 2000 copies in embossed cover).

Audio : "Don't these windows open ?" (or here), "We Sleep you bloom" (or here or here),

"That River" (or here) & www.myspace.com/foveahex

Homepage : http://www.janetrecords.com/(with more detailed bio)

Label : http://www.diestadtmusik.de/

Review with audio : http://www.boomkat.com/item.cfm?id=19840

Other reviews : http://www.aquariusrecords.org/..

& http://www.janetrecords.com/review/bloom.html

& http://www.almostcool.org/mr/1650/

& http://www.brainwashed.com/...

& http://www.tinymixtapes.com/musicreviews/f/fovea_hex.htm

& http://www.roughtrade.com/site/shop..

Review of EP : http://www.tokafi.com/newsitems/cd-feature-fovea-hex-bloom/view

French review : http://www.octopus-enligne.com/...

Die Stadt Music Fovea Hex : Neither Speak nor remain silent : two

"Huge" (EP) (IR/UK,2006)****'

This second release can be considered as part 2 of a triligy of EP's of which part three isn't out yet. This set has something of a sad goodbye. Deserted spatial ambient sounds create the sphere for the main song "Huge" (the joy of trouble)". This instrumental part is the most important core, and still is rather dark in its content, which was on the first track partly limunated by glass sounds. "While you're away" is a soulful mourning conclusion, making this three piece concept almost like an inner Mass, trying to put an experience of grieve and loss, onto the perspective of a matured vision, that seems also to become responsible for the colour of expression of this vision. The inner calmness has grown to certain harmonies and a natural feeling in the sounds no matter from how dark tensions they started to form themselves.

Clodagh Simonds : voice, glass, treated voices ; Laura Sheeran : voice, Lydia Sasse : voice, Sarah McQuaid : voice, Roger Doyle (know Irish composer most known for his dark electronic music concept with words, Babel) : keyboards, harmonium, odd sounds, psalteries, chimes, keyboards ; Cora Venus Lunny : violins, viola, string arrangement ; Carter Burwell : shredded piano ; Brian Eno : keyboards ; Percey Jones (from former jazzrock band Brand X who had Phil Collins in early stage,..): subaquatic fretless bass ; Geoff Sample : marsh warbler and dipper field recordings ; Hugh O'Neill : trumpet ; Colin Potter (known electronic/exp.musician with solo works and long time collaborations with Nurse With Wound, Current 93, The Hafler Trio, Organum, Monos, ...) ; Paul Bradley: shifting, sieving, tricks of light.

(Limited edition of 2000 copies in embossed cover).

-After many listens I started to consider these mini cd's as 'classics'- Recommended !!

Audio : "Huge (The Joy of Trouble)", "While You're Away" & www.myspace.com/foveahex

Homepage : http://www.janetrecords.com/ (with more detailed bio)

Label page : http://www.diestadtmusik.de/

Review with audio : http://www.boomkat.com/item.cfm?id=22414

Other reviews and descriptions : http://bentcrayon.com/details.asp?product_id=44095

next->

Tomlab The Books : Lost and Safe (US,2005)****°

I’ve read in Wire magazine how The Books was seen by them as the best release of last year (see their list here). While I trust this magazine as one of the best and most honest, with the widest scope and perspective, and while I liked already the first release of this group, I felt obliged to check out this next release, and I'm glad I did. The Books style and their recording techniques seems to have matured further.

There are only a few more “simple” songs of which the background sounds and rhythms mostly have a remarkable and original way of evolving with its sound colours, while the songs and vocals mostly bind the vocal samples.

Track “one” (A Little Longing Goes Away) has the simplest solution of making the sounds in the music more intelligent. The ambient-echoing amplified sounds with the guitar and some reverb on the singing create extra space (where such studio technique could have as easily blurred the songs and content, but not here). The core on “two”’ (Be Good to Them Always) is based upon beautiful electronically or computerised rhytmically processed loops of cello. The spoken word and electronics finish it off with a documentary-like filmic beauty, which include quotes and fragments of thoughts taken out of the context of daily life, and other wordiness compiled from other recordings. “three” (Vogt Dig for Kloppervok) has some spoken word literature samples, and show fragments of situations, and mixes this with beautiful folktronica, which moves and evolves into space with added effects. “four” (Smells like Content) is much more a song, with modern sounds of echoing movements of acoustic clicks and found sounds with warm amplified guitar, slightly echoing along with the moving waves of the clicks and sounds. “Five” (It Never Changes to Stop) is a completely acoustic track with descriptive melodic-moody cello and banjo-like fingerpicking-rhythmic guitars, also with more spoken word and additional cello that becomes filmic. “Six” (An Animated Description of Mr. Maps) uses rhythmic pulses (performed by a variety of instruments, including banjo and at times more wild percussion, interacting with a radiovoice, and with a song control on top of it. “Seven” (Venice) has more samples of voices (including Dali,..), compiled to a musical piece, embedded on thumbpiano like rhythms. “Eight” (None but Shining Hours) is a more “normal” and simple song, well mixed with modern sounds and rhythms, with new mixing techniques showing intelligent evolutions in the colours of the sounds. “Nine” (If Not Now, Whenever) and a bit less “ten” (An Owl with Knees) are other examples of a sampled collection of sounds and voices, with the clarity of a song and rhythms holding the found elements in an intelligent way together, while the rhythms in its modern mix evolve in its soundcolours. Last track, “eleven” (Twelve Fold Chain) is an acoustic song with some minor background sounds which participate in the composition.

An intelligent release which still fits with the name of the band, the Books.

Audio : "A Little Longing Goes Away" (or here), "Be Good to Them Always" (or here),

"Vogt Dig for Kloppervok", "Smells like Content"(or here), "It Never Changes to Stop", "An Animated Description of Mr. Maps", "Venice", "None but Shining Hours", "If Not Now, Whenever", "An Owl with Knees", "Twelve Fold Chain"

Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=17072

Homepage : http://www.thebooksmusic.com/

Other reviews : http://www.tinymixtapes.com/musicreviews/b/books.htm

& http://www.pitchforkmedia.com/record-reviews/b/books/lost-and-safe.shtml

& http://www.cokemachineglow.com/reviews/books_lost2005.html

& http://dustedmagazine.com/reviews/2090

& http://www.almostcool.org/mr/201/ & http://www.halo-17.net/6481.html

& http://sonicheart.com/reviews/the_books_lost_and_safe

& http://www.stylusmagazine.com/review.php?ID=2901

& http://www.studiomoustache.com/blog/2005/...

French review : http://www.autresdirections.net/article.php3?id_article=542

Earlier 2003 release I reviewed on http://www.psychedelicfolk.homestead.com/acidfolkreview5.html#anchor_75

Important !Pianomagic : Open Cast Heart EP (UK,2006)****

Since I discovered the earliest EP's of Pianomagic I found this band completely unique. While before I could find only just here and there some nice and sweet soundscape electronica that sprinkled like water, I thought at that time, that when this was combined with human poetry this kind of expression really became complete, because it then gives a perfect combined and wide vision of an expression with a scope that goes to as wide as to an abstract free world which is a music expression as vivid as nature, but also shows the human in it, its place of love and communicating. Pianomagic expressed exactly that completeness, and I tried to follow their releases ever since. There was a short period that was more soft post-rock, but this EP again develops further, what it originally started.

This is electronic music only, combined with voices of poetry. The second track, "the journal of a disappointed man" is borrowed from a book, a diary by WNP Barbellion, a great lost treasure of English Literature from the early 20th century. Sweet female vocals (reminding me of Mum but also a bit Bjork) are by Angele David-Guillou, who participated with Pianomagic before. Since Pianomagic more bands started to use subtle electronica which is as complex and sound even warmer than acoustic improvisations. Several Piano Magic releases were for me perfect background music for writing poetry myself because my attention got completely lost in its multidimensional world. Another fine Piano Magic release.

Audio : "The Journal Of A Disappointed Man", "I Didn't Get Where I Am Today"

& http://www.vh1.com/artists/az/piano_magic/852368/album.jhtml

Homepage : http://piano-magic.co.uk

Label info : http://importantrecords.com/images/content/release_pages/imprec045_release_page.htm

Other reviews :

http://www.pitchforkmedia.com/record-reviews/p/piano-magic/opencast-heart.shtml

& http://www.artistdirect.com/nad/store/artist/album/0,,3128730,00.html

& http://www.ab-cd.com/icbin/media/IMP045.html

Italian review : http://www.sentireascoltare.com/CriticaMusicale/Monografie/pianomagic.htm

Review of the 'Saint Marie EP' (with Vasthi Bunyan) on http://psychedelicfolk.homestead.com/acidfolkreview11.html#anchor_241

ICR / Klanggalerie Andrew Liles : Mother Goose's melody :

or sonnets for the craddle (UK/Ö,2005)***°

This item surely has some classic narrative English literature association with it, performed and written by Lord Bath, who has a really pleasant and effective narrative voice. This voice-with-electronica brought back in mind the contemporary electronic composer Paulin’s Oliveros and her “Beautiful Soop”, and her recording from 1966 based upon a text by Lewis Caroll (-an association I had before with Thighpaulsandra’s 2005 release-). The nursery rhyme poetry as well might have something of an Alice in Wonderland world in them, as being told by Mother Goose (who stands for a known symbol of a mother narrating fairytales to her children), and as being part of a different dimension with a surreal reflection of the harder to understand parts from the adult’s world, seen from an innocent vision ; this vision might find many experienced communicative situations surreal or at least incomprehensible or odd, or just makes spontaneous humorous reactions. The experimental ambient music to it is really beautiful and expresses its own world too of reflections. I already mentioned Thighpaulsandra in the beginning of this review. It seemed that Sion Orgon, from this group, collaborated here with extra instrumentation. Part of the instrumentation is acoustic (double bass, guitar, and acoustic sound mixes and loops). Some of the voice recordings are remixed backwards. In total this sounds like a work of art that listens like a book with music, with a sometimes relatively simple but always crafty and effective body.

Limited to 500 copies only.

Audio : "The Milky Way seen through the Cripple’s Telescope", "Orville’s Engastrimythic Divinations", "Safety in Numbness"(or here), "Cannula Tubes as Fine as Straw", "Quivering Umbels"

Homepage : http://www.andrewliles.com/ & http://www.myspace.com/andrewowenliles

with info on this release : http://www.andrewliles.com/discography/mother_goose.php

& http://www.blrrecords.com/prod/1047/mother_gooses_melody.html

& http://strangefortune.com/cd.php?id=2672

Lord Bath homepage : http://www.lordbath.co.uk/

with some poetry and songs on http://www.lordbath.co.uk/internetsongs/songs.htm

Other reviews and descriptions : http://www.brainwashed.com/i...

& http://www.musicnonstop.co.uk/store/erol.html#40371x0&&http

& http://www.ear-rational.com/detail.php?id=21382

& http://www.staalplaat.com/search/catalog/14861

& http://www.going-underground.de/de/detail_4115.html

Beta-Lactam Rec. Andrew Liles : The Dying Submariner

(a concerto for piano and reverberation in four movements) (Ö,2006) ?

Although this is a release without words, I can easily imagine a small story with the music.

The first movement starts as a dark soundtrack, as if from the deep (sea), with slow bass sounds (which are stretched piano sounds I guess) penetrating into wider spaces, mixed with its overtones. This sounds still like a composition, which is almost like electronic music but without using electronic keyboards or equipment. In its evolution it starts to give the impression of a ghost piano concerto in a sunken ship, unreachable for real contact, but not for a listener, who might be afraid this could work as sounds from evil elks seeking a new victim to drawn them, to share their doomed destiny. After another clearer (underwater) pianopiece, the third part sound more like drunk and drown, also in the nature of its composition, where the echoing layers and oscillations are a bit destroying the composition ship, showing a more destructive than a constructive nature. After a while it becomes a bit into a sleepy moodiness, keeping the piano piece melodic layers close to the hillocky ground level of the sea. The latest, quietest piano piece with some echoes is just like a calmed down nature of the wreck itself which is no longer making up any new story. Never the less in the end of this piece, a slightly dancing piano melody ends the whole composition, just like friendly moss or plants on top of the wreck.. So in the end the story still did find a surprising concluding turning point which is pleasant like a waving hand, calmly pulsating on the deeper waves and water movements, life after death.

Audio : "The Dying Submariner - Part 1", "part 2", "part 3", "part 4"

Homepage : http://www.andrewliles.com/ & http://www.myspace.com/andrewowenliles

Label page : http://www.blrrecords.com/prod/858/...

Other reviews and descriptions : http://www.musiquemachine.com/reviews/reviews_template.php?id=801

& http://www.fishcomcollective.net/archives/232/

& http://www.ear-rational.com/detail.php?id=25187

more links will be added soon

Audio Dregs Lullatone : plays pajama pop pour vous (JAP,2006)****

“Pyjama music” ? This sound almost like the concept, or a perfect description of the music. The duo (Yoshimi Tomida & Shawn James Seymour) were even dressed in pyjamas for it ! Every track is done in and around the bedroom, just before sleeping. We hear warm minimalist-like modern electronic, and acoustic sounds from : a musical box, glockenspiel, ukulele -sounding as if it’s a toyguitar-, shaker, toydrums, handpercussion, steelpan, vibraphone, harmonica (?),..., accompanied by a sweet innocent whispery girl voice, with on the first track a small High School chorus part. The melodic electronica on its own is already sweet and like a lullaby, but with the girly voice and other little arrangements it became the nicest folktronica song-music you can imagine.

PS. Almost all bass drum sounds on the CD were made from the sound of a pillow !!??

Audio : here & here & here & http://www.juno.co.uk/... & on http://www.rhapsody.com/...

Video introduction for group here

Homepage : http://www.lullatone.com/ & with audio : http://myspace.com/lullatone

Description : http://www.darla.com/catalog/search.asp?id=11830

Label with audio : http://www.audiodregs.com/

and info on group : http://www.audiodregs.com/artists/lullatone.html

Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=24909

Other reviews : http://www.tonevendor.com/item/24892

& http://www.douban.com/subject/1922619/

Sedgemore Rec. Silver Pyre : ii) (F,rec.2005-2006,pub.2007)****

Unless there’s no folk instrument used on the first track, -only sequenced electronica-, I keep a feeling of Irish/English folk flavours. Something comparable I have heard before from early Camberwell Now recording (1982). The second track adds an accordion improvisation with keyboards and electronica, people singing in the distance as if this as a folk dance. The concept of the album is that the recordings are done in an “exposed barn on the fossiled shale shore of Somerset…” while project leader “…G.S.Fawle records in isolation to evoke the ghosts of the place of his birth.” It is exactly that association that filters through each spontaneous action of a creative moment as if nothing can exist without its past. Also his singing provokes old and forgotten folk tales, while a lonely accordion weeps (“clayshoal iv”), and electronic sequenced rhythms pass by like a passing wind, in combination with strange metallic sounds, and an extremely slow bass rhythm as if from a gigantic machine entity somewhere in the environment. One of the things G.S.Fawle mentions from this environment is a humming nuclear power station, which on this track is provoked well, from the position of the barn, aware of a wider environment. Fuzzed bass and other sounds pull further pulses on the next track, like an experimental improvisation with a certain collection of sounds. I notice here also an instrument that sounds somewhat like a thumb piano, but more sad than the instrument has ever sounded. The lasting vibrations end all this a bit like an abstract soundtrack.

I think G.S.Fawle succeeded well in his purpose provoking an environment, with its past and present all into one musical concept. It is as if we walk in our minds to folk music days over industrial changes, while the newest addition of a nuclear power plant indifferently like a sphinx, breathes as if its energy after all has a larger/longer distance view.

Hand sleeved, wax sealed, limited in numbers cdr.

Audio : "Mammalia", "Clayshoal" & on http://www.myspace.com/silverpyre

Homepage : http://www.silverpyre.com/

Review of first EP on http://progressive.homestead.com/prog14B.html#anchor_153

Rump Rec. Snöleoparden (DK,2008)***°

I really enjoyed the playful world of this “Snowleopard” which the artist Jonas Stampe could be identified with, for also the fantasy drawing of him looks slightly like one. The album sounded more perfect to me in headphones than otherwise, where a few noisier elements, especially with bass percussion make some tracks blurrier than they are meant to be. Often this album sounds like a found-sound PC-arranged (and multi-layered) semi-exotic world, percussive-melodic and driven by glockenspiel, xylophones or vibraphones or kitchen ware (or all together), which are sometimes played like mbira’s / thumbpiano’s, but more happy, joyful, mixed with different typed flute improvisations, which provoke different Worlds each time, and acoustic or amplified guitar. At certain points also semi-electronica mixes in, rhythmically-melodic as well, sometimes with strange sounds of oddly semi-disturbing peeks, folktronica-styled. Especially the most percussive tracks show themselves as extremely rewarding and pleasant. Other tracks confirm the music’s essence of child-friendliness, by cooperations with kids. “Hodje Fra Pjort” is like the presentation of the album title, is with many kids singing along, lead by the singer and guitarist, while some other arrangements were also added afterwards. The short “Lille Cykel” even is based with a lead singing by a very talented Indian ? boy, and accompanied also by amplified guitar. The tracks with more bass rhythms, like I mentioned before, are slightly distorted with bass sounds, also use some harmonically sounding drone sounds and such, which worked well for me after a second listening in headphones. In between this, is “water puppet theatre”, a song (or at least with weird singing) which I think was extremely successful with its arrangements as well.

Audio : "Nr. 1", "Hodja Fra Pjort", "Xylofon", "Water Puppet Theatre", "Snabel E", "Den Evige", "Lillecykel", "Dreng", "Trance", "UFO", "Grieg"

& on http://www.myspace.com/snleoparden

Video : www.youtube.com/watch?v=5lQIC44kEyY

Info : http://www.posteverything.com/releases/24117

& http://www.klicktrack.com/shop/release.jsp?r=71183

& http://angryape.com/artists/snleoparden

Label info : http://www.rump-recordings.dk/sno_press.html

Other reviews : http://www.cuemix-magazine.com/cuemix/inhalt.php?image=682

& http://sonicfrontiers.net/php/review-160.html

& http://www.chaindlk.com/reviews/...

Fat-Cat Rec. Silje Nes : Yellow EP (UK,2008)****

Usually I do not review digital only releases, but the EP is a very fine addition perhaps even improvement to the full album (reviewed on next page), which could eventually be added as a self-burned bonus cd.

On this EP the electronic and semi-electronic arrangements (electronica, guitar, rhythmic blips and sounds, glockenspiel, organ, and so on, all with related harmonious pitches) is completely in harmony with the whispery songs, and might even be more important this time, like playful miniature-folktronica. The instrumental part of it flows in fact gently and vividly with sweet clicking steps from one track to the next, making the vocal parts just like another instrument, presenting something of a beautiful fantasy world -where I would like to stay for a while-, like a sort of soundtrack alternative of a natural environment in urban contexts, like a toy space ship, or like an attractive modern times colour book. Well done.

Artist info : http://fat-cat.co.uk/fatcat/artistInfo.php?id=122

Label info with audio :