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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. The title track – a Tom O’Bedlam quote – is a frenetic blues that bends and twists like space-time. And lead single ‘Jack Parsons Blues’ is a passionate fingerpicking dervish full of Arabian flair and flamenco fury, named in honour of a 1940s Californian rocket scientist who helped found NASA’s Jet Propulsion Laboratory and was also a friend of L Ron Hubbard and acolyte of Aleister Crowley. “I’ve long been obsessed with Jack Parsons,” Raymond says, recalling reading Fortean Times articles about him as a teenager. “He lived in this vast old mansion which he shared with a whole cast of oddballs and shysters. He also came to an abrupt end, blowing himself up in his home lab. For all his faults, I find him to be a sort of romantic character – full of boundless zeal and ideas. He was both a scientist and an embracer of the weird and esoteric. 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For over forty years Richard has played a part in many of the UK’s most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle’s Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard’s career has continually seen him work to expand both his own and the public’s musical horizons. With Mr Norris Changes Brains it’s the most recent part of his mercurial career that he’s focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard’s Sleeve, alongside Trash’s Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem. “A lot of these tracks are fairly recent discoveries, things that I’ve discovered from around the time I started working with Erol and going right up to today,” Richard explains. “Whether that’s from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that’s allowed for a much broader selection.” That freedom sees Mr Norris Changes Brains take us on a trip not just through time, with tracks from the 1960’s rubbing up against releases just a few years old, but around the world too. 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Co-produced by Matthew Halsall, the album also marks the first time that Chip has worked with renowned mix-engineer, Greg Freeman (Matthew Halsall, Portico Quartet and Hania Rani among others), as Chip explores a more contemporary sound.\u003c\/p\u003e\n\u003cp\u003eOpening with the rolling hand percussion and floating notes of ‘Drifting’, the record quickly finds its footing, and dives headfirst into a propulsive and splashy rhythm section. A tasteful drum fill ushers in the commencement of second single ‘Nara Black’, which features the sultry vocals of Peach, whose dreamlike lyrics intertwine with uplifting flute motifs and sweeping strings. The album’s title track is up next, channeling curious and alluring melodies through a swirling portal of sound. ‘Lost Souls’ is a restful and nourishing track, giving time for the spirit to breathe amidst rich woodwinds and soulful shakers. \u003cbr\u003e\u003cbr\u003eOn ‘No Turning Back’ pensive atmospheres ease into torrents of melody, twisting like the banks of a great river. ‘The Road Less Travelled’ finds wandering keys traverse vast undulating expanses of sound, before ‘Falling Deep’s’ winding motifs beckon the listener to venture deeper within. 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This project seamlessly\nblends Imogen’s soulful, emotive vocals with\nCoull’s masterful trumpet playing, creating a\nunique and rich soundscape which is both exciting\nand sensual.\n“The album features eight of Harrell’s intricate and\nvaried compositions, enhanced by Imogen’s\nintelligent and evocative lyrics that breathe new life\ninto each piece and turn them effortlessly into\nsongs. Her lyrics elegantly capture the essence of\nHarrell’s original works, adding a personal and\ndeeply introspective layer to already catchy\nmelodies.\nOne standout track, ‘On the Roof’, which serves as\nthe album’s title, embodies the creative synergy\nbetween Ryall and Coull, and offers listeners a\nstunning fusion of jazz innovation and fun and\nheartfelt storytelling.\n“‘On the Roof’ is a tribute not only to Harrell’s\ngenius but also to the intimate artistry that Ryall\nand Coull bring to the project. 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In the records she’s put out over the years, she’s shown a proclivity towards dark and\u003c\/span\u003e\u003cspan\u003e artful rock and off-kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud \u0026amp; Quiet and more. But Share Your Care marks a new era, building on Ganya’s past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling.\u003cbr\u003e\u003cbr\u003ePreviously, Ganya had been hesitant to draw on her heritage in her music, somewhat wary of the orientalising gaze of the west. But after a dream about her late grandmother laid the foundations for what would become the track ‘Horizon’, Ganya realised she didn’t want to curtail herself either. She began to piece together a series of new songs at home, enjoying the catharsis of the process, using the MIDI as a temporary means of conveying the timbre of Thai instruments, before bringing those early incarnations to her frequent co-producer Rob Flynn. The pair went to Buddhapadipa Temple – the Thai Buddhist temple in Wimbledon – where they met instrumentalist Artit Phonron, who could play ranat ek, saw duang and khim, and later worked with Chinnathip Poollap, a musician in Thailand who could play the Thai oboe or “pi”; both would contribute to Share Your Care. She also called on Anglo-Thai artist John ‘Rittipo’ Moore to perform flutes and saxophone on the album.\u003cbr\u003e\u003cbr\u003eThe result is a triumphant, abundant record, teeming with heart and cinematic warmth. The title track is one of the first Ganya worked on, melding her own style with those Thai sounds. The celebratory song is based on her memory of following the elder women in her family – her mother, her aunts, her late grandmother – to go and visit her granddad's grave, bringing offerings (the video directed by Am Picha, features a similar storyline). “It felt like quite a magical journey to go down the trail to find him again,” she says, “It’s just trying to get that sense of honouring your ancestors and still feeling that they’re there. 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