Terrascope Reviews

Reviews of the solo Acoustic Textures and Spitting Feathers CDrs on Black and White Cat Press from Terrascope.

“Using a selection of found objects and an acoustic guitar, David Birchall has created an intriguing and listen-able improvisation on his latest album “Acoustic Textures”. Containing seven tracks, the album serves up a wide range of moods as an apple, windscreen wiper, plectrum and a twig are employed to great effect with “Signs of Hope on our Archipelago”, the album opener, setting the standard scraping and rattling into your ears with a preciseness and deftness of touch that ensures the sounds are never wasted. As the tracks bleed into each other, more chapters than individual pieces, it is hard to distinguish them, but the magnificent springiness of “City Smells” will make you chuckle, whilst the delicate shimmer of at the beginning of “Another Apocalyptic Vision at Breakfast” soon turns into a darker and intense drone, bringing the album to a conclusion that is far from the playful middle section. A fine piece of improv that flows wonderfully.

Also featuring David Birchall (Guitar), as well as Olie Brice (Bass) and Phillip Marks (Percussion), “Spitting Feathers” is an energetic free improv collection that finds the players in harmony with each other snatches of melody peeking out from behind shards of noise, scrapes, rattles and clunks, the moments of silence vital punctuation within the pieces. Over seven tracks the musicians prove themselves to be inventive and alive to the possibilities presented by the other players with “Wall of Horns” and the more percussion led “Fine Words, Butter No Parsnips” proving wholly satisfying to these ears, whilst opener “”Sat There Like Piffy on a Rockbun” has moments the sound like The Clangers on a large dose of LSD, or maybe that’s just me!”


Spitting Feathers review from Foxy Digitalis

nice review here of  recent cdr with Phil Marks and Olie Brice on Foxy Digitalis from Mike Pursley

“On “Spitting Feathers” the talented trio of David Birchall (guitar), Olie Brice (double bass), and Phillip Marks (percussion) produce a clattersome tonal plinking evoking teeming machines con- and de-structing a stone and iron metropolis. These players bear witness to cityscapes from afar and subterranean tunneling within. Behold negative inroads into earth and positive accreting termite tracks’ organic sculptures. Textured like sweetgum balls and quickening taunt over time-lapsed riverbeds dried and cracking, fissures spring forth. Hybrid popcorn improvisation. Shaky excavations. Crystalline. Players bestow handfuls of precious stones by the handful, but uncut and unpolished and still one with the coarser material. Mathematical. Lyrical (but stammering). Space and time within an assemblage of geometric planes. A meaningful collection of shards and slivers.”

Nine Doors Review

Cool review here of LBO CD from the good folks at diskant


Levenshulme Bicycle OrchestraLevenshulme Bicycle Orchestra. It’s so satisfying to say. It’s almost as satisfying to type out, time and again. Levenshulme Bicycle Orchestra. The best thing about the name is that it’s wholly accurate: Levenshulme Bicycle Orchestra are a troop of musicians  based in a certain district of Manchester who come together to make music from all kinds of instruments, including bicycles. They’ve been a going concern for a few years now, but this is their debut release; a full-length CD album (or download if you’re so inclined) capturing nine of their collective improvisations for posterity and general confusion.

“Marlon. Marlon Brando are you the famous film star?”

And he says, “yes I’m afraid I am.”

“Why aren’t you happy with your existence?”

“Well that’s the question isn’t it?”

Confusion? Yes. It’s not like they don’t warn you: open up the beautifully packaged CD, pull out the bonkers fold-out poster and look on the back; you’re confronted with what reads like the ramblings of an insane man and a small disclaimer: “All lyrics improvised at time of recording and sung by Zeke S Clough”. Pity the fool that volunteered to transcribe them.

Zeke S. Clough (voice, synthesizer, percussion), perhaps better known for his insane artwork for Skull Disco that also adorns this release,  is just one of the quartet of fearless improvisers that make up Levenshulme Bicycle Orchestra. Huw T. Wahl (bicycle percussion, clarinet, piano, voice), David M. (for Magnus) Birchall (bass, small instruments, percussion, voice) and Josh J. Kopecek (synthesizer, piano, flugelhorn) are the other constituent parts that make up this glorious whole.

So what is the sound of confusion? The album opens up with some typically deranged moans from Zeke, before some clattering of bicycle percussion, fizzing pedals and rhythmic random percussion. This builds up to a point of tension before Zeke begins his first sermon, quickly accompanied by bass thrums and other assorted layers before it all collapses into the next song. “Starved Dog” features a piano accompanying what sounds like someone playing a bass guitar with a slide, a kazoo and god knows what else. “Oily Film” features what sounds like the ghost of crazed organist playing the soundtrack toChopper Chicks in Zombietown, accompanied by creaks, groans and moans and the odd whoop here and there. “Whale in a Duckpond” almost sounds like an actual, recognisable song at various points, with some welcome musicality as David plays the bass like an upright and Zeke croons in his best Geno Washington impersonation. Then it all goes wrong; maggots start crawling over the windows and hell gradually breaks loose. “Marlon Brando”? Well, you know how that one goes. Everything starts falling apart by the time we reach “Primate Engineer” and Huw’s clarinet starts wailing over the top of abstract piano phrases, phased bass rumbles and some beatboxing. Eventually it all comes to a crashing, triumphant halt with final track “Nine Doors”, which runs a full 20 minutes and encapsulates virtually everything that precedes it, mutating from broken-down church organ jam to skeletal percussion workout to bizarre melody hopscotch, all held together by another bizarre, nonsensical story. A glorious hymn to the power of collective free improvisation, it’s probably the finest moment on this fantastically cock-eyed album.

“Nine Doors” is the sound of what happens when you lock four like-minded musical voyagers in a room for 2 days and distill their inevitable improvisations down to something that approaches the coherent “music” your lazy brain desires. Live, Levenshulme Bicycle Orchestra must sprawl all over the place as they take different paths towards collective enlightenment. On record, you’re served the mere highlights of their wanderings, jumbled-up and thrown together to create this mind-flaying assemblage of sounds, textures, noises, words and song. Running nicely over an hour, it might be too much to take in at one sitting, but keep listening and it’s the collective inspiration that frazzles your mind. Awesomely inspired and dazzlingly weird, simply nothing sounds like Levenshulme Bicycle Orchestra