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Jim Huxley’s “Tessa on a Magazine,” rediscovered after a long and winding search by Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta's “My Story Changes” and Twice As Nice’s delicate “Thoughts of You” float easily alongside the more buoyant, radio-dream sheen of Barracuda’s Baby “I Love You” and MAK’s sunshine-dappled “That's Life.”\u003cbr\u003e\u003cbr\u003eWidening the aperture to the late 70s and early 80s allows for a deeper exploration into evolving production techniques and musical technologies. The Squad’s “D.L.M.H.I.M.A.” and Christoph Spendel Group’s “Forever” crackle with the kind of bedroom synth warmth that could only come from the analog age, while the soulful, yearning undercurrent of Awakening’s “Gotta Do Somethin \/ Might As Well Cultivate” caps the collection with a call for action — or maybe just acceptance – in an accidental Brian Eno Here Come the Warm Jets parroting.\u003cbr\u003e\u003cbr\u003eWhile 'Dreaming' moves away from the \"sad man with guitar\" archetype that hovered over its predecessors, it remains tethered to a familiar emotional gravity — a balance of longing and lightness that defines this corner of the musical universe. 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Last Night I Heard the Dog Star Bark is a hybrid of the ancient and the futuristic where the arcane etchings of occult folk horror fuse with the unfathomable equations of the cosmos. A big bang, yes, but also an atom cleaved. On her latest album, this celebrated new champion of the finger-picked guitar looks upwards, outwards. somewhere beyond. Now the landscape is mapped – its knotted woodlands, its aurora-crowned mountains, its tangled undergrowth – Gwenifer Raymond hears the stars call. Last Night I Heard the Dog Star Bark is a natural evolution for such an intensely questing, personally excavating artist. The album is Raymond’s first since 2020’s Strange Lights Over Garth Mountain, which drew widespread acclaim for its repurposing of Mississippi blues and John Fahey’s intricate Americana to embody Raymond’s roots in rural South Wales and her interests in folk horror and the avant garde, a new form dubbed Welsh Primitive. Now, on her forthcoming album, Raymond finds herself conjuring the work of pioneering rocket scientists, the words of fictional hobo prophets and the concepts of mathematical infinity. Having toured Europe, the US and Canada with the likes of Michael Chapman, Michael Hurley, The Handsome Family, Lankum, Charlie Parr, Richard Dawson, Ryley Walker and Squid, and played festivals including WOMAD, Green Man, End of the Road and Transmusicales in France, Raymond began recording Last Night I Heard the Dog Star Bark; exploring textures and following threads alone in her flat’s home studio, trying to get a sonic grip on a world spinning out of control. Sci-fi and scientific readings provided a strange, objective clarity. One key reference was Tom O’Bedlam, an insane homeless mystic from Grant Morrison’s comic book series The Invisibles who sees holy words in street signs reflected from the city’s wet concrete, hidden meanings within the modern chaos. “The world seems to have been taking on an increasingly surrealistic tilt,” Raymond says, “and ol’ Tom makes more and more sense.” “I’ve always been a big sci-fi reader,” she says, listing Phillip K Dick, Kurt Vonnegut and Ray Bradbury amongst the authors she read avidly as a child from her parents’ extensive sci-fi collection. Raymond would go on to complete a PhD in Astrophysics at Cardiff University, before moving to Brighton to become an AI and video game programmer. Midway through writing her third album, then, she was drawn to the pulp sci-fi corners of Brighton market, picking up and devouring second hand tomes of strange science and the mystique of eternities. “A bunch of the stuff I was reading had these themes about the nature of infinity, and tying this into concepts about the afterlife,” she says. “Those thoughts were running in my mind a lot, especially when I was creating some of the droney sounds that book-end the album. The album enters from the cosmic void and exits through the galactic plane. Maybe you’re exiting out of hyperdrive into some strange planet where the album lives, then you zip out to find whatever is next.” At times, ladies and gentlemen, she found herself floating in space. The opener ‘Banjo Players of Aleph One’, for instance, is built on a celestial drone – its Gibson Mastertone banjo an off-world presence, purchased second-hand from a widow looking to pay for her husband’s funeral. “I had this image in my head of him somewhere very distant, playing the banjo on the cliffs of Mount On,” Raymond says. Hence the reference to Aleph numbers, a mathematical concept often used to describe the size of infinite sets, and by Rudy Rucker in his novel White Light to outline levels of the afterlife. “I’ve always felt a strong pull to the world of the weird, and I don’t think there’s a lot weirder than infinity, the product of a division by zero,” this atheist astrophysicist muses. “We all get divided by zero eventually.” ‘One Day You’ll Lie Here But Everything Will Have Changed’ has a more serene star-gazing feel, Raymond’s slide guitar tones resembling comets filling the night sky with warping, criss-crossing threads. 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As they found themselves naturally locking into more fixed grooves, he realised a new direction had been set. 'The Heat Warps' is the triumphant manifestation of where that new direction took them. In the aftermath, Cooper’s songwriting, which had become increasingly impressionistic, found a new focus and the idea of making an album that followed a similar path to the last two increasingly seemed obtuse. The purpose was to forge a radical change. The core trio of him, Jim Wallis (drums) and Jeff Tobias (bass guitar) were augmented by a new guitarist – Tara Cunningham. Modern Nature’s recent records have reflected an insular life. Cooper had moved out to the countryside in 2021 and had, in his words, been “hibernating” while he started a family. 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The words Cooper had been writing previously were somewhat ambiguous but it had started to feel like he was sitting on the fence and that was something he needed to address. “Every day we’re confronted with a confusing and scary world,” he says. “Making music and creating things can feel flippant or unnecessary, but my own world view was defined and influenced by art and artists who weren’t afraid to highlight and offer solutions: Public Enemy, The Smiths or a wider American counterculture.” “The community we’ve built our life around – artists, musicians and the people who gravitate to these things as way of communicating – are struggling to reconcile how they fit into an increasingly cruel world. This album, the themes and the lyrics are directed towards them because I think there are still seasons to be optimistic. There are amazing things happening all around us and it’s up to communities like ours to double down on the things we believe in. 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