The Owl Service’s Garland of Song was released only five years ago, but the now disbanded group’s influence on the acid-folk revival means an expanded reissue is already in order. Fecund early seventies Trees and Fairport albums, and the soundtracks of contemporary pagan-themed TV and cinema, are romantically re-pointed in darkened glades lit by icy…
A couple of years ago, Frankie Boyle said comics should quit before they are 40, by which time they are creatively spent. His comments infuriated the then 42-year-old Stewart Lee, a chagrin exaggerated for his last tour and DVD, If You Prefer A Milder Comedian, Please Ask For One. Two years later, and Lee admits…
A song cycle about 17th century Witch Trials suggests some ‘80s East Anglian Community Theatre piece, or a ‘70s National Theatre promenade, staffed by ‘60s folkies. But behind this bold and unique record lurks the thinking person’s indie pop legend, and unaccredited national treasure, Darren Hayman, late of Hefner, occasional woodwind clusters his only concession…
This thirteen disc, memorabilia crammed, out-take and live show enhanced, fortieth anniversary big box refit of Larks’ Tongues in Aspic scrutinizes King Crimson’s fusion of Dionysian ecstasies and progressive rock’s Apollonian aspirations. Jamie Muir, a veteran of sixties sessions with free improvisers Evan Parker and Derek Bailey, plays chains, saws and junk, alongside the core…
The American saxophonist David S Ware died last month, at the age of 62. His final album, here leading a quartet including the ubiquitous William Parker on bass, offers three ecstatically elongated workouts typical of his approach. Ware’s sound was forged in the slipstream of John Coltrane’s explosive and expansive late sixties experiments, and he…