Aural Delights on the Overflow 125

On this weeks show the brand new releases from Ember Rev, Es., 2 Lost Souls, Fabio Frizzi, The Conspiracy, Porcupine Tree, Soccer Mommy and The Shadowbrook Project. There’s also archive cuts from Toots & The Maytals, Dave Graney & The Lurid Yellow Mist, Townes Van Zandt, and Unseasonal Beasts.

  1. Ember Rev- Insignificance
  2. Toots & The Maytals – Pressure Drop
  3. Es. – Roam
  4. Dave Graney & The Lurid Yellow Mist – I Don’t Know Anything (Supermodified Remix)
  5. 2 Lost Souls – Smart Motorway
  6. Townes Van Zandt – Ain’t Leavin’ Your Love
  7. Fabio Frizzi – Meduz and the Crime
  8. Unseasonal Beasts – Jodorowsky
  9. The Conspiracy – Caged
  10. Porcupine Tree – Of The New Day
  11. Soccer Mommy – Bones
  12. The Shadowbrook Project – Ooo Baby Baby ft. Ladee Dread
  13. Ember Rev – Mir I

Ember Rev

The title of Ember Rev’s new album is “Isolophilia”, which the dictionary tells me is “a strong affection and preference for solitude”. Dan Ecclestone says “The title refers to something that I think all musicians appreciate, the opportunity to hide away from all distractions and focus on creating something personal and in some way meaningful. I’ve no idea what anyone will think of our music, I mean I hope they like it, but it comes from a very sparse and solitary place, possibly again as a consequence of lockdown, which in the early months was pretty alarming.”

Toots & The Maytals

A Leslie Kong production “Sweet And Dandy” from 1968, recorded at Dynamic Sounds (Kingston, JA). Led by Toots’ Kingston-by-way-of-Memphis lead vocals, and the ragged call-and-response background singing of Nathaniel “Jerry” McCarthy and Raleigh Gordon, the trio created gospel-fueled reggae classics including the immortal “Pressure Drop,” – enduring stuff!

Es.

Daniel continues to explore new musical areas with with another new set collectively called “Glow”

Dave Graney & The Lurid Yellow Mist

An 18 track collection from 2010 – Supermodified sees Graney and his band revisit tracks from the Heroic Blues and The Brother Who Lived albums from 2001 and 2003 respectively. Features Bill Miller and Adele Pickvance as well as current mistLY guitarist Stu Perera, alongside the ever present Clare Moor.

2 Lost Souls

Continuing the mammoth 52 week run of singles!

Townes Van Zandt

At My Window was Van Zandt’s first studio album in the nine years that followed 1978’s “Flyin’ Shoes”, and his only studio album recorded in the 1980s. Van Zandt returned to the studio with producer “Cowboy” Jack Clement, Jim Rooney and a group of top shelf musicians, including fiddle and mandolin player Mark O’Connor and Willie Nelson’s harmonica player Mickey Raphael, who all complement Van Zandt’s subtle, poetic songs.

Fabio Frizzi

Purveyors of the spoken arts and nightmares on vinyl, Cadabra Records, proudly presents an original soundtrack of The Eyes Of The Cat by Alejandro Jodorowsky and Jean “Moebius” Giraud by the legendary Fabio Frizzi!

Recorded and mixed at the Octopus Music Factory studio in Rome with sound engineer Giuseppe Meddi, the fully original new soundtrack is entirely performed by Fabio Frizzi (Kill Bill, The Beyond, The City Of The Living Dead), who performs a wide array of keyboards including a 1981 Roland Jupiter-8, a 1971 Minimoog, a 1970 Mellotron M400, and more from his own personal vintage collection.

Though both men have been working in psychotronic cinema and the arts for well over five decades each, it’s only now that multi-hyphenate Alejandro Jodorowsky and composer Fabio Frizzi have been paired together on a project. Appropriately enough for two artists known for challenging perceptions of what they’re known for, this album is not the score to a film, but for a comic book, and one published nearly forty-five years ago, at that. Jodorowsky’s The Eyes Of The Cat also marked his first collaboration with the legendary French artist Jean “Moebius” Giraud, making this a coming-together of not just two, but three titans of genre entertainment, what Frizzi himself calls in the liner notes, “an ambitious luminaria.”

To appropriately capture the sounds he wanted, Frizzi reached back to utilize some of the very equipment he was using at the time of The Eyes Of The Cat’s original release, meaning that many of the synthesizers on which this score was recorded were also those which soundtracked the films on which he worked with director Lucio Fulci.

“Meduz And The Crime” pairs metal guitar, violin, and a subtly percolating synth sting into something absolutely sinister. Coming at the album’s midpoint, Frizzi utilizes these three very different sounds to create a piece which evokes deep sadness, as well, tugging at the listener’s heartstrings while all the while hinting at what’s taking place.

Frizzi, here, has crafted the perfect audio interpretation for The Eyes Of The Cat. Much as Jodorowsky and Moebius allowed the artwork to tell the story, here one can follow the tale, simply by listening. Aptly, the album comes in at just around twenty-five minutes, meaning one can read the comic while listening, and really immerse themselves in the experience, allowing the story, images, and music to unfold and take hold. As Aaron Lupton writes in the liner notes, “This is stuff old dreams were made of, so put the needle on the record and let them soar once more.”

Unseasonal Beasts

Talk of Jodorowsky reminded me of the exceptional track by my good friends Simon “Ding” Archer” and Ian “Fourcandles” Moss collectively known as Unseasonal Beasts. The famous director was feted in the duos first EP, not surprisingly called EP1, with a stand out track that bears his name.

The Conspiracy

This weeks offer from Metal Postcard called Escape EP. Their cryptic message is “New ep from the Conspiracy that somehow takes in Mark E Smith, Karl Wallinger & Ray Davies all at the same time. In our book, the Conspiracy are one of the great unsung British songwriting duos of the past 30 years. There’s a new album due later in the year that we gather has been at least 5 years in the making. Can’t wait.”

Porcupine Tree

Closure/Continuation is the eleventh studio album and their first since 2009’s The Incident. Despite public uncertainty of the band’s future after frontman Steven Wilson’s focus on a solo career in 2010, the album was recorded intermittently in complete secrecy among Wilson, Gavin Harrison, and Richard Barbieri across the course of the following decade, without long-time bassist Colin Edwin. With the COVID-19 pandemic putting member’s separate plans on hold, the band found time to completely finish the album in September 2021. Towards the end of the year, the band’s reformation was publicly announced, alongside the album’s release date of 24 June 2022.

Soccer Mommy

Sophie Allison’s third album as Soccer Mommy “Sometimes Forever” finds her broadening the borders of her aesthetic without abandoning the unsparing lyricism and addictive melodies that made earlier songs so easy to obsess over

The Shadowbrook Project 

Producer/musician Kevin Brown, formed and developed The Shadowbrook Project out of admiration for the various musical influences that helped develop his creative output throughout his career. Using his past experience working with artists and labels like Beenie Man, T.O.K., Turbulence, Fiona, Dillgin, Lexie Lee, Iakopo, I-Shadrock, Wall Streetz Records, Yard Groove Music and others, The Shadowbrook Project not only features the musicianship and production wizardry of the Canadian-born producer but also the great musical talents from all parts of the globe. As a whole, The Shadowbrook Project is less about being a creative output of instrumentals, remixes and collaborative efforts, but more about being a sonic palette that crosses genres and styles.

Centered around the common theme about love and relationships, Volume One: Sketches from the Heart is the first full length release that features the musical talents from various musicians and per- formers across the globe. Featuring the vocal talents from Bahama’s Ricardo Clarke, Jamaica’s Fiona Robinson and Monique Marian, Trinidad and Tobago’s Dakeye, and Hawaii’s Iakopo, this album delivers a cool mix and fusion of reggae, jazz and R&B. Originally conceived as an instrumental album, this project took on a different direction due several life changes that affected Brown over the years. The talent that Brown had the fortunate opportunity to work with was able to coincidentally provide songs that fit the moments Brown was experiencing at the time. Some of the songs within this collection have never been released or were remixed specifically for this project.

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