Reviews of new Acid Folk, Psych Folk, Folkrock, Prog Folk

Secret Eye

Black Forest / Black Sea (US,2003)**

This is a side project of Jeffrey from The Iditarod with Miriam Golberg. It fits perfectly on the Hand/Eye label's interests. Miriam Goldberg plays cello, ring modulator, pitch-shifter, omnichord and sings occasionaly. Jeffrey Alexander plays acoustic guitar, electronics, strumstick, omnichord, and sings as well. I also heard a musical saw at one track, and what seemed to be a banjo on another one. The style is somewhat dark, minimal, moody, acid and a bit experimental neo chamber folk. We hear an improvisation of moods, mostly with cello & electric or electrified guitar with some added layered second cello, some electronic noises, and other textures, in a very relaxed and laid down mode. Fine music to listen too. I also heard some live recordings, which were darker.

Info : http://www.blackforestblacksea.com & http://www.secreteye.org/bfbs/

Sound fragments : "Blackbird On Gray Sky", "Banjo Song", "Sevastopol"

Other reviews : http://www.pitchforkmedia.com/record-reviews/b/black-forest-black-sea/black-forest-black-sea.shtml & http://www.lvd.4mg.com/049.htm & http://www.splendidezine.com/review.html?reviewid=1070970285174622

Blue Sanct

Black Forest / Black Sea : Forcefields and constellations (US,2004)**°

The second release by this group uses different aspects of their earlier approach. The group leaves the acid folk playing area more behind, and find themselves in the different musings of experimenting in a soundscape-like way. The closely blending sounds during improvisations (with guitar, organ, amplifiers, and some cello..) drift through calm approaches to some creative balance. While here the music has its abstract aspect, the human touch is always nearby, though minimilized. Various live recordings are used for this, and two music samples (by Kemialliset Ystävät and Fursaxa). Melodically there's often no direction except, -close to the cutting fluxus in time intervals directed by the sound blend-, when the melody confines itself to the ruling sound creations with it. Here and there Miriam's voice participates, pale like a coloured cloud. I thought at first, comparing this with the first BF/BS release that this experimental approach was an improvement, but it seemed in general the group found time to develop some more comfort in what they are doing. "Hung Far Lowish", and "Tangent Universe" are again acid folk related, the first one more improvisational, with cello and guitar, first acoustic, then electric, the other track is a beautiful song. Another recording in between, "Nylon" is an acoustic guitar instrumental, while "the last night in troy" is more avant garde -electric experimental underground-, sounding as if 4/5 people are "freaking out still in a tempered way on this experimental feeling. This is concluded with another semi-acoustic soundtrack. A consistent and pleasant release.

Other soundfiles : "Fish No Fish", "I'm in love...", "These Things"

Info : http://www.bluesanct.com/cats/catalogue/descriptions/inri076.html & http://www.secreteye.org/bfbs/

Band pictures : http://www.cs.brown.edu/~mag/bfbs/pictures.html

Other review : http://www.fakejazz.com/reviews/2004/blackforest2.shtml

Last Visible DogBlack Forest / Black Sea : Radiant Symmetry (US,2004)***°

After Black Forest / Black Sea’s tour in Europe, it is obvious that many unique local inspirations occurred, because the band consists of two creative spirits. I don’t doubt Jeffrey Alexander’s taste, so after he must have collected a huge amount of recordings, I trust his choice would be a good one, and it is. The earlier album, "Forcefields & Constellations” was somewhat quickly compiled before the tour, so this shows the group during the live experiences. I noticed before how another acid folk band Atman turned away from a psychedelic acid folk band into a more experimental acoustic band sound (- with The Magic Carpathians-). Also Jeffrey Alexander (who was a leading part of The Iditarod before) and Miriam Goldberg go much deeper into the abstract and free-forms. Still they seem to always keep beauty in mind, which for me is still essential, even in the strangest areas being explored. Because this element is always there and the collection is compiled well, this comes over like a soundtrack or something, with the cello and the guitar bringing free space always back to earth as well.

Almost all track have guest appearances. In the Glasgow recording it was Christoph Hladowski, Daniel Padden (Volcano the Bear/ The One Ensemble of Daniel Padden) and Alex Nielson, from the tour in Finland it was Markus Mäki, Jan Anderzén, Merja Kokkonen (from Kemialliset Ystävät –see latest release reviewed at next page-) (soundfile of that session here), In Italy, Stefano Pilia (from electro-acoustic group 3/4 Had Been Eliminated & member of rock band Settlefish) (soundfile of that session here), in Bristol, England, Nick Talbot (known as Gravenhurst) on guitar (soundfile of that session here), and on another occasion in England, Harry Sumnall (Lazily Spun review at next page), electric tamboura, harmonium and percussion, and two tracks the duo solo (Newcastle, UK ; soundfile of that session here). A beautiful improvisational record.

Info : http://lvd.4mg.com/065.htm (from http://lvd.4mg.com/) & http://www.secreteye.org/b/releases/

Review : http://www.digitalisindustries.com/foxyd/bfbs_radiant.html