I have some for sale, on the Shop page, if you’re interested.

I will post some photographs of the finished article when I have those.

The cover photograph is of the 19th century bandstand in the Königin Astridpark in Bruges, a town that, for a number of reasons, will always be very close to my heart.

When Kyle and I first talked about me doing this LP, I suggested that an electric guitar album would be a curious notion, not in any way because that’s a particularly original idea, but because so little of my more recent work has been solely guitar-derived. I thought, perhaps naively, that I could get ‘back to basics’ but I realise now that that’s rarely possible and the eccentricities of the album betray the original concept. The LP does, however, only feature electric guitar and effects, so the original brief was fulfilled.

In fashioning Magdalena, I was forced to think, for the first time in more than 15 years, about two parts of a greater whole—the dual sides of an LP—and the recording process adapted itself accordingly: there are shorter opening and closing pieces to the record, with the second track on the first side, and the first track on the second side, being the album’s main pieces.

I can’t thank Kyle enough for all he’s done to make this album a reality. The work he’s put into getting this out there has been monumental, matched only by his patience, with a higher than usual number of test pressings and his tireless efforts in relation to the cover printing process. The look and presentation of the album are all due to his efforts; I have to take responsibility for the music contained in the record’s grooves. Suffice to say it’s an intensely personal album for me and I hope it stands up to scrutiny.

Let me know if you’re interested in getting a copy from me, as I’ll have copies soon. Anyone in North America and further afield than the UK and central Europe should contact the label and order from there. And while you’re there pick of some more of the amazing releases Kyle has put out on his superb imprint.

Entering ‘The Red and The White’, the first track on Scottish musician Brian Lavelle’s new release ‘Avalonian’ summons the force of early Tangerine Dream even though Brian’s music is much more filled with spacey details. Anyone familiar with Brian knows that he for about 20 years has released a huge amount of albums, solo or in collaboration (as with Richard Young) a lot of it constructed by layers of drones and processed field recordings. Over the layers of drones on the first track we hear vocals performed by…. processed bird song (I guess, but you’ll never know with Brian’s treatments) – and it’s brilliant. The drones are dark and beautiful and the bird singing is perfect. Following the 20 minute opener is the 26 minute closer, ‘Star Temple of Avalon’, the second epic of the album. Yet another spacey drone, flavoured with keyboards which is bringing it into psychedelic ambient spheres. After a couple of minutes a distorted guitar follows and soon also a repetitive bass pattern. Then the piece converts into dark free floating textures which brings to mind Fripp & Eno’s ‘Swastika Girls’, minus Bob. Brian Lavelle’s ‘Avalonian’ is very close to a masterpiece and I’m not at all surprised it’s released on the always über-interesting Apollolaan Recordings, strictly limited to 60 copies with a beautiful hand-printed cover.

Although the physical release is long gone, you can download it in lossless format on my bandcamp page, along with some other goodies.

The name comes from a peculiar type of subterranean structure only found in Cornwall in the extreme southwest of the United Kingdom. Theories differ as to their original usage, but it seems most likely they were intended for ritual or rite of passage use. Ian McNeil Cooke’s book, Mother & Sun: The Cornish Fogou (Men-an-Tol Studio, Newbridge, 1993) is the bible for the fogou obsessive, if you can find a copy.

When we settled on the name, we opted for the alternative spelling as found in the works of British archaeologist and psychic researcher, T.C. Lethbridge, and first seen in his Herdsmen and Hermits: Celtic Seafarers in the Northern Seas (Bowes & Bowes, Cambridge, 1950). It would only be fair to acknowledge that Lethbridge is one of our strongest influences.

Last weekend, Matt and I ventured down to the West Penwith peninsula of Cornwall, to visit the fogou at Boleigh and various other sites. The fogou is extraordinary, like nowhere I’ve ever visited before. Recording inside it, in the dark, to an audience of spiders and who knows what else, was an experience I won’t forget in a long time. And recording with Matt for the first time in person made the whole experience all the more memorable. It was an inspirational visit, not just for the fogou itself, but for the joy of friendship and new discoveries together, shared obsessions and shared fears (arachnaphobia and vertigo being just two!), and the magic of the Cornish landscape.

Our first album, Reversed Dreams of this Nature, has just been released on Finnish label Ikuisuus Records. The music reflects, we think, the unusual and unknown aspects of the idea of the fogou itself, with dense textural electronics, certain acoustic instruments, vocals and field recordings taken at particularly appropriate sites. The sleeve features a beautiful cover painting by Matt (above). A second album is currently being edited. At least some of the recordings we made in the fogou at Boleigh should feature on a “live” Fougou album, The Boleigh Working. And finally, for now anyway, Sonic Oyster Records, the label run by the inestimable Andrew Paine, is also to release a 3″ disc, Atlantis (for John Michell) at some point over the next few months. There’s plenty coming up and we’ll continue to record as long as the spirit of Fougou moves us. I suspect that will be for some time to come.

Perhaps best described as a haunting, minimalistic and mystical dream-narrative inspired, very loosely, by Viscount Samuel’s book ‘An Unknown Land’ (London, George Allen & Unwin, 1942), the disc is available in a very limited edition of 50 copies, most of which are now gone. I have a few copies, and Andrew may still have some at the time of writing. They come in handstamped sleeves: 25 in black ink on white card, 25 in white ink on black card.

Low Earth, the eagerly-awaited second album by Scottish astral voyagers, Space Weather, is released on 1 March 2010 again on the band’s own label, Space Weather Recordings (BwbW 02).

Following on from last year’s eponymous debut, the trio of Alistair Crosbie (electric guitar), Brian Lavelle (synthesizer) and Andrew Paine (electric bass guitar) build upon the strengths of that earlier stellar outing to create a darker, more dense album in Low Earth, which is truly progressive in nature.

The album is limited to 100 copies only and comes in a pro-printed colour sleeve with pro-duplicated colour disc-print. The CDR release costs 5GBP and is available for pre-order now.

POSTAGE & PAYPAL INFORMATION – CDRS – In the UK, please add 50p towards p&p for one disc, £1 for 2 or more. Outside the UK, please add £1 towards p&p for one disc, £2 for 2 or more. Paypal is preferred – the address is sonicoysterrecords (at) yahoo (dot) co (dot) uk.

Thanks Daniel!

Thank you Scott!

I still have a handful of copies of the album left (the label has sold out of them), so get in touch if you’d like one.

Recorded over the summer months of this year, and completed (in Avalon) in September, it comprises two long tracks which I hope capture the feel of that astonishing, inspiring place: its atmospheres; its idiosyncracies; its mysteries. The album is a little different in focus from what’s gone before; but I hope those who hear it will enjoy something of the contents.

The disc – limited to only 60 copies – comes packaged in a white digipak, with beautiful vinyl-cut, handprinted front and back covers, and with an insert. Each one is slightly different. More details of this edition are on the Apollolaan site.

Matt’s label is easily one of the most unique and diverse projects of the last two years. It’s hard to believe that in only 18 months or so, he’s been able to produce 22 individual releases which cross the boundaries of experimental, folk, rock, electronic and improvised musics, often mixing all those genres seamlessly. The aesthetic of the label is well captured in this quotation from Dion Fortune:

There is a spiritual quality in the hand-made thing that is lacking to the machine made, however good may be the design, for the man who makes with his hands the thing which he has himself planned, weaving into it his dreams and the many sacrifices for the sake of his art, giving to it of his best, cannot help loving it by the time he has finished it; and the well-loved thing, warmed and worn by human hands, becomes ensouled with a life of its own.

I couldn’t agree with those sentiments more. It’s perhaps fitting that, as I stood close to the house where Fortune once lived, by the red mineral spring at the foot of the Tor, I thought that Matt would be the ideal person to consider sending what was, at that stage, an unfinished and untitled Avalonian. Suffice to say that Apollolaan is one my favourite labels; and Matt is one of the loveliest people you’ll encounter. I’d encourage you to get a copy of the disc from him while they’re still around!

With Space Weather’s music you can either choose to descend into the gentle flicker patterns of Lakia’s cabin or float above the nightscapes of Scotland’s glittering and smoky towns. Alistair Crosbie, Brian Lavelle and Andrew Paine, a trio of Glasgow/Edinburgh experimentalists, have created a disc of synth/bass/guitar works that summon up (the best parts of) mid 70s Eno back with an affecting centre. The most striking element here is undoubtedly the synth work, and even with Lavelle credited solely on synthesizer, it’d still be presumptuous to place that instruments melodies as his sole creation. “Space Weather” has the feel of a truly collaborative effort, neither of the players overwhelming the project’s music with ego or easily identifiable contributions. With much synth lead stuff that’s doing the rounds nowadays, it’s possible to become inured to predictable passages of sound; this isn’t an issue here. The title track brings to fulfilment a sea-shanty ambience, synths shifting from true string instruments and back again – even the track’s drum machine can’t settle the virtual roll of the waves/sounds. There’s more observable guitar drone work on “Ardrahan Battalions”, but it owes more to the blissful end of progressive than pretension. They also make way for motornik fuzzed-out-pop on “They Turned Left”, Andrew Paine doing a gentle bass line that positions the piece and its momentum. “Another Green World” might well be a comparatively distant relative, but there’s little anyone/thing can do to pull the stars from this album’s trails. 10/10

Thanks Scott!