privateSalvador Cresta : Bedroom Preacher -No Talent Lo Fi Spanglish- (ARG,2008)****

Costumers, politicians and English-speaking people tend to not want Spanish song music. Not because they don’t understand this second most important language in the world ; it is a threat (for their language). For some citizens in America there are already too many Spanish speaking people, and that’s why this language is seen as a threat. Build walls to protect us from more Spanish coming in! are plans from the latest government. Music labels won’t publish easily Spanish song music, even when there are a few exceptions. Salvador Cresta is good, really good ; it’s weird folk music. But it’s in Spanish. People won’t accept this. Myself, I don’t understand much of it but it still makes me laugh with enjoyment. I don’t care how this can be. But he still didn’t find his label. I asked Salvador just to try once to make English songs, even if it’s in terrible English. It might have the same effect. And no, he does not speak English well (he says) (perhaps neither do I), but he accepted the challenge and wrote to me “I have wrote in English but I don’t know what I say.. anyway, who cares!”.. “The "Upolite Upolinko” album it’s me whit a friend called Gonogan”. Just in case people might not understand the English he also wrote on the album : “no talent lo fi Spanglish”, so with a warning ! The two CDRs I received were customized unique copies which contained also the last smoked cigarette and a unique tourist photograph showing a dangerous innocent situation (see up).

The English spoken album is in fact to some degree a serious album. It contains funny keyboard arrangements, a few comical but also sweet bedroom songs and a few sad instrumentals, played with electronic keyboards, some acoustic guitars (sporadically electrified guitar), glockenspiel, whispery vocals and dual vocals, flute arrangements and a dog barking quietly being curious in the background. Some of the lyrics contain funny irrelevant associations. The funniest title on the album is “Wait don’t go I can find a job”. This is sung by dual somewhat-harmony-voices in the telephone with little bits of white noise sound effects, and quiet acoustic guitar picking, and the aforementioned curious dog in the background. To keep away real nationalists, two Spanish songs are included too, also with beautiful harmonies, with its deviations of popmopompom or quiet mouth buzzing. Last ultra short track imitates a harmonic a capella composition of kazoos and ducks imitators. A short (-27 minutes-) but again brilliant, and well arranged album.

private  Salvador Cresta : Upolite Upolinko “teta tatá, tateti” -bedroom recordings- (ARG,2008)****

Also this mini-album sounds like a perfectly compiled creative song album, in Spanish, arranged with dual vocals, picking arrangements on acoustic guitars and some arrangements of toys, flutes and extremely little percussion. “Tutan Come On” is a more serious almost baroque piece on organ, with some changing effect.

PS. Salvador Cresta makes costumized CD's or even songs/albums for those who order it, so each album will be a unique album.

Description of Salvador on : http://www.wovenwheatwhispers.co.uk/...

Info : e-mail Salvador

1.dontrustheruin Big Blood : Strange Maine 11.04.06 (US,2006)****

Since Colleen and Caleb got their magical connection sealed, developed and revealed to materialise into a spontaneous mystical feeling and wonder (with the birth of their bloody real being, baby). Through music it seems to reveal new aspects of small communal awarenesses, surreal and real at the same time. The new lucky path developed easily new intuitive and creative ideas, while also new hidden community tree-connections also revealed with roads of old time sufferings and hauntings that now are saved by that close communal energy. Not that this particular idea is delivered and expressed directly, but it is the feeling this favourite recording of all five, mostly concert recordings, gives to me.

I always loved Cerberus Shoal harmony vocals. This new group, Big Blood, rises in the group’s ashes full new green sprouts, with Colleen Kinsella, Caleb Mulkerin as a core duo and Rose Philistine and the Asian Mae project helping out in the arrangements. Also here the vocals are from magical (like These Trails a bit on the opener “All Operations) to a surreal version of country-Appalachian, communal cry-outs, ritual and social, sometimes like nomads in their minds, but knowing their soul connections. All picking, from moody to honky tonk, instruments meander with the energy well. I couldn’t get a grip yet on the lyrics. This one was dedicated to Quinnisa Rose. This deserves a proper CD release.

2.dontrustheruin Big Blood : Strange Maine 1.20.07 (US,2007)****'

Also this second 'Maine' related album is very rewarding. Some of the best of it sounds like a cross between The Residents and Amon Düül II during their 'Vive La Trance' period. Like Residents, but not as weird, rhythmical sound combinations are build up together to form a pulsating brooding musical theme, to give an extra musical effect, while beautiful strange vocal harmonies sing the songs. The album started already very strong, with a strange-folk Satie interpretation of "Les Gymnopedies" (with acoustic guitar, harmonica, and a bit of backward percussive effect). The next track after that, "Suffer Creation" it is as if ghostly voices haunt from the past and sing their existence. Death and life walk hand in hand, but it is life that gets the new voice.

It is incredible how creative persons are able to make art on each new moment, as if they read between the lines of what is available, seeing each potentional, expressing its language, having inspiration this way readily and easily available.  

3.dontrustheruin Big Blood : Sew Your Wild Days Tour vol I + comic book (US,2006)***°

4.dontrustheruin Big Blood : Sew Your Wild Days Tour vol II (US,2006)***'?

* The second track on this home recorded collection, “Vitamin C” was written by Can. This German group with their own recording studio often used ideas of strange sounds of guitars on interesting rhythms, at times further developed from what was originally inspired from ethnic ideas. It seems like, to some degree, Big Blood adapted and developed something equally further and added top new ideas, versions and variations firstly with percussion rhythms and guitar sounds. On top are a few folkier elements, and a sharp high note voice singing (think of Joanna Newsom on the last track, which gets a gospel like choir too, while banjo and electric guitar finish the outro), a voice which is even a bit sharper through the use of some distortion twice. Also here the tracks hang well together.

* Michael Conner created a comic book out of the album. The first few sounds of the musical album adapt a few baby sounds into the musical creation process, while the music finally will brings us to a more surreal and somehow psychedelic sphere. The comic book, based not entirely on this album alone, shows the meeting of the duo couple and the birth of the little boy as if seen from a different dimension, starting from the scene where both were born out of the same blood, but Caleb is a more machine-like herder on earth, and Colleen lives in the air. She creates from the gifts from birds a gigantic new machine, which is also a tree. While the hungry sheep cover the earth, eating their way and make their signs, Caleb makes a way upstairs. When the two meet, the machine became like a musical machine, which now, on this meeting point, created the right harmonising notes, with a new process which results in the process of birth, falling down to earth again, but which is saved in the middle, by the uniting energy of love, in the form of a blood heart, consisting and uniting all three of them. A wonderful bonus surprise.

* Also volume II hangs well together. It is a collection of strange acoustic songs, partly sung by a kind of radio voice and instrumentals. There’s something surreal about this, which I think will only be revealed to me after various listens before getting a grip on it better, but I hope this small description gives already an idea what to expect. 

5.dontrustheruin Big Blood : Space Gallery jan.27,2007 & Sahara Club jan.28,2007 (US,2007)****

Last acoustic release is like a concert that gives an extra energy because it delivers a platform of a different kind of entertainment, like the best yodelling or country evening, but this time in a totally new area, led by banjo and accordion, with guitar and vocal harmonies, and sometimes birds on the background. The recording of the second occasion is a bit different but has the same effect. Anyhow, the group proves for all to deliver always an entertaining creativity, unpredictable but to a degree recognisable, even if you never really know for sure where you are. Talented !

Homepage with audio : http://myspace.com/bigblood24 

Reviews of Asian Mae solo albums : http://singersong.homestead.com/newsingers-13.html#anchor_557

ACID FOLK related items REVIEW PAGE 18 :

latest addition : 2008

Third Eye Of The Crone, Pantaleimon (4x) (UK), Carbonic (2x)

(F/US), Salvador Cresta (ARG) (3x)

Big Blood (5 x), Bunwinkies, The Chapin Sisters / Winter Flowers, The Iditarod (US)

Go to next review page->

or go back to psych-folk index

or go back to general index

demo Third Eye Of The Crone : Fables for the Disenchanted -EPcdr- (UK,2007)****'

This is a promising demo from a duo consisting of Lord Ravenswold lll and Aram dela Rosa. The (male, female or dual) vocals are slightly dreamy, in a neo-folk and psychfolk troubadour style, with minor key and rhythmical picking guitar. There is some additional use of bells and flute-like tones of electric guitar on “We cometh and we passeth away”, or some echoing tones, like vibrations in the sky, on “gently is the way”, or also some idea of sweet psychedelic wahwah-like sounds of electronics or guitar (hard to tell) on the last track, “Shadow of the dial”. The collection of songs sound inspired like poetry. The vocals aren’t recorded too well, or have a bit of distortion, but this doesn’t disturb too much, or this still fits into the mood of it. On “wooden woods” also the flute has a strange recorded sound, with an almost ghost/owl-like effect. The vocals also show some some heartfelt variations, which makes songs like “night kills the day” memorable. I hope the group will be able to make their deserved first real CD soon.

Homepage with audio : http://www.myspace.com/thirdeyeofthecrone 

demo Bunwinkies : (10 track) demo (US,2007)**°°

This demo reveals a group that plays in a child-, an innocent-mentally-disturbed-and an outsider-friendly way, in a slightly happy, loose way like these groups likes it best (with some funny sounds and happy, loosely handshaking rhythms). The songs are sweet or slightly funny lullabies of psychedelic folk, always charming, unrestrained and sweet, whispery and (almost romantic) wish-you-goodnight-I-love-you songs, or just like we-love-to-play, gathered around a bedlamp like a campfire, cosy and warm. Under this is a serious group, music for a happy meeting, and there can be sad songs as well, or more energetic instrumental and psychedelic improvisations, which also mixes hopelessly amateur fun with serious controlled results. It is understandable, for this, how on myspace, The Shaggs are amongst their favourite groups. The same page says : Sounds like : “train whistle, train wreck, training bra trannys, travesty, travail, triumphant trumpeting, trolley traps, tarnisched tenadors, triple troubled tweens, terpsichore on the telephone, tangled torsion, and tenbeat twosteps”.

The group consists of Shannon & Beverly Ketch, Christopher Carmody, Jim Bliss, Sita Magnuson, Dan McLeod, Desi Lowit, and Mark Hanson.

Homepage with audio : http://www.myspace.com/bunwinkies

Manimal Vinyl    The Chapin Sisters / Winter Flowers -split EP 10"- (US,2007)***°

This is a perfectly paired LP with firstly, the Chapin Sisters, which are three sisters, two daughters of songwriter Tom Chapin and one daughter of filmmaker Wes Craven. They are known to play a whole repertoire of songs with folk and bluegrass flavours, from old time classics to more recent hits (like The Cure’s “boys don’t cry” and an acoustic slower version of Britney Spears pop hit “toxic” with which they were given some attention). They are a LA based group who sing folk flavoured material in an acapella way, perhaps influenced by gospel or blues harmonies, but more like in their own “family harmony” acoustic way. Their songs are simple and happy, and are only accompanied by acoustic guitar, and a tiny bit of organ. Their contributions fit very well with the more arranged music of Winter Flowers. This Californian based group for me still is one of the biggest new promises in folk music, bridging with English folk traditions, but renewing the styles in their own way, from folk traditions to late medieval flavours, where Renaissance was changing styles into something more court-like. Also their core of harmonies are female harmonies, acoustic guitar and organ, but they also have a male singer, use flutes (and horns), glockenspiel, a bit of harpischord and mellotron, and also they use little percussion. A nice vinyl only release, with beautiful picturedisk artwork.

Label : http://www.manimalvinyl.com & with audio : http://www.myspace.com/manimalvinyl

Info on Chapin Sisters : http://www.manimalvinyl.com/index.php?the_chapin_sisters

& http://www.thechapinsisters.com/ and articles : http://jeej.wordpress.com/2006/06/24/chill-the-folk-out/

& http://www.rememberingharrychapin.com/circle/winter05/sisters.htm

& http://www.papermag.com/freeformimages/2006/bp2006/the_chapin_sisters.html

Info on Winter Flowers : http://www.manimalvinyl.com/index.php?winter_flowers

& http://www.winterflowers.info/

Previous release of Winter Flowers reviewed on http://www.psychedelicfolk.com/acidfolkreview16.html#anchor_393

1.Dutro/Jnana    Pantaleimon : Trees Hold Time (UK,rec.1999,2002,re.2005)**

Andria Degens aka Pantaleimon’s first album from 1999 was a limited release of 2000 cd's, then was out of print for quite some time. Streamline (Christoph Heemanns label) also released it on vinyl around the same period with 514 numbered copies on colored vinyl and 100 un-numbered copies on black vinyl. Durtro Jnana decided to do a special run of 300 signed edition copies recently, to fill continuing demand for the album, but it will be fully re-issued after the release of the new album. The first seven tracks were recorded by Christoph Heeman (HNAS), the two additional tracks by herself and Michael Lawrence. The cover gives a vague reference to some Current 93 releases. On this release Andria’s music expressions are very limited and minimal, with only slowly awaking chords, breaking up only slowly as if starting from a, for me almost rather depressing stagnancy, with some additional droning tones (on metal chimes) or picking notes (guitar,..), as an attempt to create a moody excursion, with songs as well, breaking out of a sticky condensing, with minor harmonies, that thoroughly breathes itself out in a process that changes the more sticky elements and feelings into a result of what feels more like a humidity, a fog. I’m forced into this visualization of a dark lake, a medieval stone ruin, and an unfocused girl in a misty natural environment. While the starting scene of sadness is all surrounding, and gives only a vague view, sad loner-lonely, still stagnating, without giving the feeling that this is a disturbing condition really. The last track of the first session is being called a 'contemplation', as if it firstly looks back and beyond all this, while this could have had the nature of change, even more consciously, and perhaps without much experience, it will remain in the minimal theatre, as if being without enough strength in character of content, without a moment of truth or ability to change, this repeats itself hopelessly for much too long. Trees grow and stand still, the title says “trees hold time” : they adapt the surrounding but do not give change themselves. For a human this is a plant-like human condition, giving no opportunity to transcend this condition, to be saved from its existence, as it cannot contemplate enough to create that change. The lack of change in that track hardly adds new conditions to life, and confirms a loner lost moment. The droning harmonium on the last two tracks also do not get rid of this loner feeling.

Audio : "Bowing and Parting", "Trees Hold Time", "Wasps Changing Gear as they Make Their Way Up Hill",

"Sitting on the Mountain of Suan Mok", "Thomas's House in Quiet Contemplation"

Info : http://www.brainwashed.com/common/htdocs/discog/durtro047.php?site=c93

Description : http://www.fluxeuropa.com/mn9912-pantaleimon.htm

2.BluesanctPantaleimon : Under The water -single- (UK,2006)****

Be careful : this is a one sided shine-thru single ; -I didn’t see it at first and was also playing the drawing on the other side-. The only track is a beautiful meditation expressed by a droning harmonium, a minor key bouzouki, and voice, singing and playing as if showing the energy of a shining treasure under water, showing a glimpse of eternity, beautiful and eternal, with a nature that would disappear and becomes an illusion once you would bring the object out of the water. Beautiful. (PS. image of single left)

Info : http://www.bluesanct.com/inri082preorder.html

or http://www.durtro.com/shopf.html

3. Dutro/Jnana    Pantaleimon : Cloudburst -mcd- (UK,rec.2006,pub.2007)***'

Pantaleimon is the moniker project from Andria Degens. Since her debut, 7 years ago, she has improved a lot in her expressions. While the almost plant-like loner conditions on this debut have let her spontaneously grow in consciousness, slowly adding more nutrition into her roots and feelings, this new release gave these roots more depth in feeling, sucking more life energy out of the water.

This is a more conscious, meditative and  contemplative work, starting with a sad-and-beautiful, simple and clear melodic, fingerpicking guitar, instrumental, ending with this introduction into an echoing drone before the real, musical meditation begins in its full capacity. This will be carried by the silence, and sometimes with a few droning tones, while the melodic pickings rhythmically grow and develop itself, like grass blades that grow together in a family-like melodic series, while some of the picked out notes are echoing their rhythmic pulses into the silence, with their effect. The grass blades (as a collection of notes) could also be imagined like pitches, occurring like drops in flat water, that find their communications through the flat water, in a natural rhythm of appearances. The plants communicate through their common roots and with water, almost in silence, but with a content. This all thoroughly brings us to a more human condition of a mood, a bit more medieval in nature and more clearly melodic, and also more clearly with a few rhythmic droning strings. It is calmly spinning, enjoying the air, wind, and sun. On the last conclusive track the pickings change into the droning pulses of the Indian tampura, with a breathy vocal improvisation, ending in an OM meditation. (The last few seconds sadly have a few minor recording mistakes of distorted clicks, as if its inner nature of expression, and its peaks and vibrations could not be recorded fully, and goes beyond the reach of perception). Very nice...

Andria also made guest appearances on Dirty Three's 'Horse Stories', on Current 93's 'The stares are marching sadly home', and added music to Cam Archer's film 'Wild Tigers I have Known', and to Susan Stenger's 'soundtrack for an exhibition', besides she did contributions to projects by Irr.App. and Nurse With Wound.

Live she also appeared in collaboration with Wire, Bonnie "Prince" Billy, Matt Sweeney, Antony & the Johnsons, Current 93, Ben Chasney, Sixteen Horsepower, Baby Dee, John Contreras and James William Hindle.

Audio : "Cloudburst"(or here), "Ascension of the Sun"

Label entry : http://www.durtro.com/shopf.html

Other review : http://www.midheaven.com/artists/pantaleimon.html

Biography : http://www.southern.net/southern/band/PANTA/biog.php

Homepage : http://www.pantaleimon.com/ & with audio : http://www.myspace.com/pantaleimon    next release->

Ghost Woods Rec.    Carbonic : Forest Creatures -cdr-(US,2007)***°

Carbonic is Benoit Guerroué, who spent most of his life in Brittany, France, but moved in 2003 to the US, to Rochester, NY. ‘Forest Creatures’ is already his 8th album.

The style on the 12 songs with improvisations are a mixture of simple, recognisable, natural (say also : as if living in the woods and thus creating its mood) dreamy moody psychfolk excursions and instrumentals build around a basic collection of songs (vocals, vocal harmonies, harmonica, acoustic strummed guitar, flutes, harmonium, hand percussion, and a few other instruments like piano,..) giving the impression they celebrate the quietness of a life near or in a house in the woods, perhaps dealing with cold now and then but always surrounded by something which is beautiful, because it gives an inner condition that makes us more peaceful inside, in a natural way. Besides, there still is the human person who has to deal with his own ghosts and realities with the surrounding real persons. So in this case, Benoit also sings, more clearly, about that, as a human being, finding his own place within this space, while the forest cures most easily most of the spinning thoughts.

Although most of it is recorded on his own (?), more than once, the songs sound as if performed by a duo/trio, even by two vocalists (with some cello on two tracks by Ian Downey).

Makes for a rewarding repeated listen, from start to finish.

Info (with 1 audio track) : http://www.myspace.com/carbonic 

& http://www.myspace.com/ghostwoodsrecordsnext Carbonic album ->

Mad Granja Rec.    Salvador Cresta : Gatos y Antorchias -cdr- (ARG,2007)****

I always look forward to a next chapter of Salvador Cresta. This new release was sent to me in rapidly wrapped brown paper. When I looked closer at this paper it seemed to contain a old magazine photograph of some pope which now had a pencilled black cat head and a fire expression coming from his hands (see up).

A shame I miss the understanding of the significance of the poetic side of the album. Technically it seems to have been recorded well enough. I repeat myself, (-this still is a lo-fi product-), that this still sounds more interesting and a more consistent listen than the Devendra Banhart releases, so I don’t understand why there is no label interest yet. Thanks to the multi-track system Salvador Cresta is once more split into many persons, let’s say like helped by many more Salvador Cresta dwarfs, who cooperate with himself. Acoustic guitar, fun keyboards arrangements, washboard rhythms or guitar box fingering, lots of sing-a-long, hiss, ooah, and cough along vocal arrangements, and a bit of piano, drinking glass percussion or flute, a self built wah-wah and who-who receiver changing some other playful keyboard sounds, and here and there an environmental recording, and a radio, contribute to make the songs like complete worlds of musical theatre, just like a broadcast send from a carton box television for creative souls.

Audio : here

Label info : http://www.madgranja.com.ar

with this release : http://www.madgranja.com.ar/salvadorcresta_album_gatos.htm

Previous releases reviewed on http://www.psychedelicfolk.com/acidfolkreview15.html#anchor_294

& http://www.psychedelicfolk.com/acidfolkreview15.html#anchor_320        next 2 releases ->

Ghost Woods Rec.    Carbonic : Dance Of Dirt / Dirt I became... -cdr- (US,2007)****/***'

I have not yet revealed the complete mysteries behind the inspirations on this new double release of Carbonic. I can only look at the few black and white illustrations in the booklet, hum quietly and say that it just sounds like an intuitive concept in two big sections, like two parts of a story book, but I need to listen a few more times to feel the depths slip deeper with each listen into my senses, a growing experience which the release is able to provide..

The first CD is arranged with acoustic guitar, some cello, and a bit of colourful percussion, flute, keyboards, and is the song part. The intuitive emotionality is much more focused and also more expressive and varied compared to most comparable releases with this kind of inspiration, and this shows already a great deal of quality from the expressions. The arrangements are nice and with respect given to expressiveness, and melodic fluency. There’s enough variety in these songs to keep me listening attentively. The album builds up to a dramatic ending, with colourful handclap-like rhythms and some distorted electric guitar freak-out, adapting also tiny fragments of what sounds like Bulgarian voices, harmony vocals.

The second album is mostly instrumental and explores this part mostly, from ritual-focused to freak folk experimental with odd chords here and there, or keyboards-inspired, with more use of colourful percussion and a few more instruments, like electronic keyboards, and organ.

A very good release which deserves a proper CD release, and wider recognition.

Info (with 1 audio track) : http://www.myspace.com/carbonic 

& http://www.myspace.com/ghostwoodsrecords

Download of 2nd, 2000 album : http://www.archive.org/details/carbonicbegrudginglyghettoblastedsoulunderpsychotronicriotwave

Morc Rec.    The Iditarod : Kleine (US,1995-2002,re.2007)***

Sadly, the psychfolk group The Iditarod, after several CD releases, is already some time gone, since Jeffrey Alexander left the group to form another, more experimental acidfolk band, Black Forest/Black Sea, forming a completely new chapter in his personal history. Luckily, Morc records, who is in general supporting all kinds of home-feeling psychfolk loners and their recordings, didn’t mind that fact, and released the group’s cassette-only release of lo-fi, privately recorded tracks, and some live recordings, dating from 1995-2002. These aren’t necessarily the group’s absolute best recordings, but they have their own real charm of private daydreaming, with its rather unique talent of ever changing inspired creativity-on-the-spot, something which reveals here and there some soft grey-shadows of experimenting with sound and instrument combinations, after moments of hazy muzings. This is a combination of instrumental acidic free-psychedelic folk instrumentals and improvisations, with use of some sound-creative experimenting instruments, combined with the seemingly more mood based songs. Hearing the tape back in this reissue, it still provides me a very moody, consistent listen, without providing any uplifting or highlighting tracks.

Iditarod is Carin Wagner : vocals, acoustic and electric guitar, piano 27, shruti box, casio, autoharp ; Jeffrey Alexander : electronics, phonograph, acoustic guitar, piano 27, fuzz guitar, phonorgan, strumstick, dulcimer, moog and tapes ; Matthew Everett : violin, ghosts, docealo and madoline guitarophone ; Margie Weink (now Fern Knight) : cello ; B’Eirth (now In Gowan Ring and Birch Book) : harp ; Alaister Galbraith : violin, casio, and electric guitar. Not all musicians are heard on each track except I assume for Carin Wagner and Jeffrey Alexander.

Audio : "Kleine"

Band info : http://www.morctapes.com/iditarod/index.html

Info : http://www.secreteye.org/theiditarod/discog.html

Label info : http://www.morctapes.com/iditarod/kleine.html

& http://www.myspace.com/morctapes 

Reviews of previous releases on http://psychedelicfolk.com/acidfolkreview.html#anchor_59

Totem Songs    Headdress : Turquoise (US,2007)***'

review moved to http://singersong.homestead.com/newsingers-18.html#anchor_741

Dutro/Jnana    Pantaleimon : Mercy Oceans (UK,rec.2007,pub.2008)****

Pantaleimon is the solo work of Andria Degens, but she always has people who accompany her whispery, almost sad and gentle music, while she herself plays bouzouki, Appalachian dulcimer, or octave mandola, with a few touches of drones from harmonica, or tamboura. Participants are Baby Dee on harp, Keith Wood (Hush Arbors) on backing vocals or guitar, Isobel Cambell (Belle and Sebastian) on cello (drones), backing vocals, piano, glockenspiel, John Contreras on cello, Jerome Alexandre on guitar harmonics.

“Under the Water”, was the really nice, dreamy and magical song which appeared before on a single (see review of it up). Pantaleimon’s music is extremely dreamy and rather intuitive and moody, while the songs have rhythmical tones surrounding the songs like flowers in a garden around a statue or well of inspiration, colouring them with clear spring time sweetness, so that it overcomes completely any of the slow dreaminess being seen works as only sad moments. “All the birds” is just Adria on vocals and Appalachian dulcimer, spreading breathy calmness. More than one song contemplates with a certain hypnotic, meditative strength. Last track is just like a lullaby-goodbye. A moody and enjoyable gentle album.

Video : "we love" ; Audio : "We Love", "At Dawn", "I am" 

& on : http://www.myspace.com/pantaleimon  

& with review on http://www.boomkat.com/item.cfm?id=63618

& on http://www.midheaven.com/artists/pantaleimon.html

& on http://spiritualarchives.blogspot.com/2007/11/pantaleimon-mercy-oceans.html

Info : http://www.pantaleimon.com/releases/mercyoceans.html from homepage : http://www.pantaleimon.com/

Label entry : http://www.jnanarecords.com/shopf.html

Other review : http://www.digitalisindustries.com/foxyd/reviews.php?which=3003

German review : http://www.tinnitus-mag.de/show_review.php?id=2520