CANTERBURY/FUSION: HATFIELD & THE NORTH: Live 1990-Bedrock In Concert CD+DVD£16.99<"body vlink=0000FF">Order now at CD Services

A real treat as you get both to see and, when yer not in front of TV, hear the legendary Canterbury band in action. What makes this all the more special is the fact that it was a TV broadcast, a sort of "almost reunion" concert, as the band had not done any live or studio work for ages before this happened. I say "sort of" because they featured a new keyboard player for the event, but not just any old keyboard player - they recruited the undoubted talent and feel of French musician Sophia Domancich, who'd previously worked with some of the Canterbury crew anyway. On piano, organ and synth, she plays as though she'd been there from the start, and, obviously on a visual level, more than adds to the enjoyment of watching the band play the set. Musically, it's typically strong, gorgeous, solid and melting Canterbury fusion, with Caravan's Richard Sinclair turning in a really steaming bass performance, while the choice of material gives him scope to display his rich vocal and fine song-writing talents too. With Pip Pyle on fluid drum work and Phil Miller's exemplary guitar work, from tender to fiery, the band give an outing to brand new tracks, exclusive to this set, and some vintage older compositions. As a Hatfield album on all levels, visually and audibly, this is essential listening and viewing.

STEVE HILLAGE: Live At Deeply Vale Festival 1978 DBLCD£14.99<"body vlink=0000FF">Order now at CD Services

The complete 77 minute concert on CD for the first time - I mean, this thing's so rare, it's never even been bootlegged - well, not in this quality, it hasn't. Yes - you can really wake up now - it's a mixing desk recording - that's right - MIXING DESK!!!!! Time to foam at the mouth and reach for that computer button or phone and order - right now, from us - what is a slice of classic Hillage from a time when a live recording has never before been presented to us. The rather fabulous 'Live Herald' was from a year earlier, and this CD here really represents the "last of the old", as the new, altogether more muscular, rhythm section backs the trio of Hillage on guitar and vocals, Miquette Giraudy on synths and vocals, and the late-lamented Christian Boule on lead, rhythm and glissando guitars. Musically, it's a set of things from the first four albums and, presented here in excellent quality, so that you'll hear magical playing from all concerned. Not only that, but the whole thing has been remixed by Hillage in 2004, to ensure you get the best possible sound. In many ways, Hillage's guitar work on here is arguably better than on the previous live album - there seems to be an added bite - and certainly the whole performance is a lot stronger, none of the heaviness taken away by post-production or anything like that - it's all here in gloriously "un-tampered" sound - you hear it exactly as you heard it at the time. Surely I don't need to say how essential this is for anyone into Gong, Hillage and all spheres of psychedelia - but I'm telling you anyway - essential and then some..

SOFT MACHINE: Somewhere In Soho DBLCD£17.99 LTD OFFER£12.99<"body vlink=0000FF">Order now at CD Services

The truth here is I thought that the previous archive Soft Machine CD on the label, was, shall we say, a bit "lacking" in the quality stakes, so, in a fit of "pique", I flung my collection at the label, saying" if you want something GOOD, then why don't you put these out?" - and they have - this being the first.
It's a phenomenal performance representing essentially the first live steps from the "vintage" quartet as they take the new and old tracks (at the time) from the second and third albums, and extend, twist and bend the compositions in a manner that is truly electrifying. In the confines of the Ronnie Scott's club - an intimate venue at the best of times in those days - the quartet of Elton Dean, Hugh Hooper, Robert Wyatt & Mike Ratledge perform a set that is warm, flowing and yet has that jazz spark reflecting the nature of the event, a six-night residency at the club, from which this recording is taken. Each of the band members can be heard clearly while the whole feel of the sound allows you to shut your eyes and imagine you were there, the segue of 'Mousetrap' to 'Hibou Anenome & Bear' as riveting an example of this as you'll find. The fact that this was recorded in 1970 means that the transition from the second to third album way of playing, improvising and composing, is all still very much in its infancy, while the presence of improvised segments that proved to be unique for the performances, means that you'll hear things you'd not get on later live recordings. Across two full CD's an inspired recording and concert that captures the band at an electrifying level, an essential addition to the collection, for sure.

EURO-ROCK/CONTEMPORARY: BIRGE/GORGE/SHIROC: Defense De CD+DVD£17.99<"body vlink=0000FF">Order now at CD Services

I used to own this on LP - way back in the early seventies. It was strange then - it's still strange now!! We are talking 1975 and the French music scene showing distinct signs of taking over from the seriously lacking "Krautrock" scene whose peak had passed. For sheer innovation and "new music" the French scene was in its ascendancy. This album - the work of three guys on synth, keyboards, tapes, sax, flute, percussion, guitars, bass guitar, cello, percussion and drums - is one seriously mind-bending trip. Nothing is "straight" or "ordinary" - on the near 20 minute 'La Bulle Oprimante', the band deliver guitar, synth and drums at angular rhythms, stuttering beats, shards of guitar and drums flying off at tangents while the electronics squall and groan, the even odder part is that it's just on the right side of the fence to be hypnotic and riveting rather than a right old racket. Throughout the track, it's all stuttering passages at oblique angles that stray into some stark and quite unnerving territories, melodies and rhythms implied but never actually existing. The 17 minute 'Le Reveil' is equally strange, starting with boinging sequencer-like electronics and what sounds like someone hitting an electronic xylophone masquerading as a clay pot, before more cyclical electronics emerge and the whole thing suddenly veers off into Terry Riley mode, only way faster. The this splinters as the pace decelerates and drones emerge over wailing guitars and bits of notes clatter all over the place as the intensity rises and it's almost into Illitch mode. This all spirals up only to fall back down in a hail of guitars, electronics and sax, all even more oblique and angular than the previous track, stuttering along its merry way to improvisatory heaven. These two long tracks are bookended by a couple of 4 minute pieces that are the essence of French electronic/electric experimentation at the time, full of guitar runs, strange percussive rhythms and twisted chords. After this, you get nearly 30 minutes of previously unreleased tracks, starting with a 15 minute 'Surtravail 1' which sees the three musicians continuing what's gone before, producing a most amazing squall of sound as notes and chords fly all over the place. Three shorter tracks carry on this feel only quieter. The second disc is a DVD that is completely unreleased and when I get that player in my house, I will find out what this has to offer. For now, if you want experimentation, improvisation, weird sounds, angular rhythms and not a melody in sight, this will be right up your alley.

CUL DE SAC: Death Of The Sun CD£13.99<"body vlink=0000FF">Order now at CD Services

Title couldn't be more apt since, despite its largely huge sounding nature, this is a pretty oppressive instrumental album that probably owes as much to Third Ear Band's 'Macbeth' as it does to some of Can's more experimental offerings. Decidedly soundtrack in nature, it tens to conform to a world of electronics, drums, effects, violins, acoustic guitars, samples and more to provide the soundtrack to the end of existence. It's all a mix of epic and melodic, inventive and serene, somehow majestic yet futile, its music perfectly conveying a sense of hopelessness, so that while there is rhythm, there's no joy. If you are menopausal, depressed, a potential suicide victim or an Abba fan, stay clear - come to that, unless you fancy wallowing in musical despair, stay clear anyway.

CUL DE SAC: The Strangler's Wife CD£12.99<"body vlink=0000FF">Order now at CD Services

This one really IS a soundtrack with eighteen tracks across 41 minutes, so you've got no time for despair here. Well, not exactly - you despair here because this is one of those typical bleedin' soundtracks whereby nothing really lasts long enough to be satisfying and all the time you 're thinking it was probably really good in the film, but outside of it all, relatively unsatisfying. With tracks less than a minute and up to a whopping 2 minutes +, you actually breathe a sigh of relief when a 5 minute one arrives even if it does sound like a chamber orchestra with John Fahey leading the way on acoustic guitar, and another 4 minute piece that is all eerie electronics and booming drum beats - back to oppressive - but overall, far too piecemeal for the normal listener but probably manna from heaven for the soundtrack buff or anyone with a small attention span (or not as the case may be).

POPOL VUH: Affenstunde CD£13.99<"body vlink=0000FF">Order now at CD Services

The debut album from 1970 and there are so many reasons for buying this whether or not you've got it already. For a start the sound is a whole lot clearer and less "fuzzy" than the previous issues - even though it doesn't say it's been remastered, it's definitely been "tweaked" in some way (I'm not a technical person) because played next to my old CD copy it sounds a lot better. Then there's the packaging - digipak and extensive booklet with new sleeve notes and photos. Then the fact that there's a bonus track - a near 11 minute one at that - not present on any of the previous issues. Finally the music. Pure 1970's psychedelic electronic - the 18 minute title track is performed on the "big moog" - in fact the one Florian Fricke later sold to Chris Franke of T Dream - and the sheer sound of this added to the bongos of Holger Trulzsch is a mix of early T Dream & early Amon Duul, a thematic soundscape that owes more to the feel of something like Ash Ra Tempel's 'Schwingungen' title track than anything, without exactly sounding like it. The bonus track is similar only busier with a much fuller sound from moog and percussion, train-like rhythms and expansive synthscapes dominating the piece. Finally the 3-part opener, 17 minutes of classic early seventies cosmic music, space moog explorations and soundscapes on an incredibly atmospheric scale, in between which is sandwiched 4 minutes of moog and bongos. Sounding totally "of its time" - and all the better for it - this is classic "Kosmische Musik" by anyone's standards and anyone into that era of electronic music should be happy with the result - timeless!!!

POPOL VUH: Aguirre CD£13.99<"body vlink=0000FF">Order now at CD Services

Hallelujah!!!!!!!!!! Now this - THIS - is the real thing. Again with a sound quality as clear as any version you've previously heard - and in my opinion , better - this is the first time ever on CD on a major label that the original version of this timeless electronic music soundtrack has ever appeared - and it's simply amazing. Opening with the soaring choirs, cosmic and symphonic space synths and expansive production, this is music that has you inexorably hooked right from the opening 7 minute track. A brief 3 minutes of gorgeous melodic acoustic and electric guitars is the perfect link between that and the first part of the next track as more cosmic choirs and synths unfold in magical fashion, just so deep, atmospheric and timeless, almost bringing a lump to the throat. Then it suddenly changes into a scenario where strummed acoustic guitar forms the backdrop to a soaring electric lead guitar that spirals upwards and onwards with true emotion and bite. Then, 3 minutes of what was, by this point, trademark Popol Vuh, as drums, cymbals, piano and electric guitars all ring out in an almost celebratory fashion. From this the album moves on to the star track, nearly 17 minutes of 'Vergegenwartigung' that is one of THE finest pieces of early seventies cosmic/space synth music to emerge so late as 1976 when this was recorded. In many ways it's quite a dark piece, giving many impressions of parts of Tangerine Dream's 'Zeit" album throughout its length, an album on which Vuh's main man, the late-lamented Florian Fricke, actually played the "big moog". If you like 'Zeit', you'll love this too - a superb slice of that era cosmic music. Finally - to make things even better - you get a 7 minute bonus track in the form of 'Aguirre III', one which features the choirs and synths but this time adds the drums and percussion to provide a piece that is both extraordinarily beautiful and strong at the same time, celestial and powerful, and a superb way to end what is now, in anyone's language' the definitive issue (in digipak format with booklet and photos) of a truly classic album - essential listening and then some.

POPOL VUH: Einsjager Und Siebenjager CD£13.99<"body vlink=0000FF">Order now at CD Services

Even though it predated the 'Aguirre' album by two years - this is from 1974 - this was the style that was the trademark Vuh sound for a good few albums. Gone were the synths and bongos of the first two albums - in their place were acoustic guitars, rolling drums, electric guitars and piano, all combining to create a music that almost defies category - it's instrumental but it's not fusion or prog or anything like that - in a sense it's the essence of "Krautrock" - music that exists outside of category but music that is immediately accessible, deeply spiritual, very powerful, wondrous and, above all, totally timeless. Ex-Amon Duul musician Danny Fichelscher plays some of the most fluid, soaring electric guitar work throughout, again sounding unlike anything else but pure seventies "Krautrock", as the melodies soar and dive. Behind all this is some superb drum and cymbals work, also played by Fichelscher, and it's his acoustic guitars that also grace the album too. But it's the compositional qualities and keyboards of Fricke that, while never leading the way, seem to be the glue that binds the gorgeous music together. The 19 minute title track also adds the lovely female voice of Djong Yun to the proceedings to create a spellbinding piece of music that you won't come down from for a week, with Fricke taking a greater share of the upfront playing than earlier. Finally, two bonus tracks, continue the feel and sound of what's gone before. Digipak format, booklet, photos and some incredibly timeless music make up this, a legendary work of genius.