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Enigmatic intro particle.
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A playful, Beatlesque melody carried by ‘cello and bass over marching guitar and a samba-related drum pattern gives way to a panoramic sweep of guitar extrapolation.
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The album’s title track is a partly-structured, partly in-studio improvised piece that starts with a quirky, angular ‘cello figure and ends with ethnic Indonesian instrumentation.
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All-out prog rock as slide guitar, ’cello and Hammond organ unite over rapidly switching time signatures, with a reggae-influenced breakdown for good measure.
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An anthemic guitar theme, dedicated to a late, great American guitar hero (guess
which?), featuring some of Robbie McIntosh’s finest recorded guiar work.
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A pastoral, celtic-flavoured acoustic guitar/cello dialogue.
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A totally in-studio improvised piece, influenced by the classical Indian raga format, over a Jordanian drum pattern. This track demonstrates Chas Dickie’s innovative and experimental approach to the ‘cello.
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An angular and almost psychotic theme over shifting time signatures, this piece was originally recorded by 80’s cult band Pool Of Sound.
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A moving ‘cello theme, closely related to the Irish "air" form, this track features Clive Bell’s work on the shakuhachi, the traditional Japanese flute-like instrument.
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Another in-studio improvisation, the ambiguous time-signatures and harmony make this the most "out there" cut on the album.
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A piccolo bass-line floats over multi-layered bass harmonics, creating a
church-organ-like effect.
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One of the album’s major works, this piece moves between summery jazz fusion and
entirely darker moods, and features some sublime guitar improvisation from Robbie
McIntosh.
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This tongue-in-cheek coda is closely related to the album’s intro.
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CD Information
