Hawkwind (1970)

'Hawkwind Space Rock... a new album'

Released on the 14th August 1970 with adverts trumpeting the above statement, Hawkwind's debut album is perhaps their most egalitarian sounding release; the one that feels most in line with the spirit of the age ..  

Bookended with two acoustic songs - 'Hurry on Sundown' & 'Mirror of Illusion' - that hark back to singer / guitarist Dave Brock's busking days, the former of which, a perennial Hawk fan favourite, opens the proceedings with a deceptively sunny demeanour before we are cast into an avant garde soundworld that only relents with the arrival of the lumpen album closer.

The sonic attack that makes up the majority of the album is a darkly discordant, mostly instrumental, jam sesssion that finds the band - Brock, Nik Turner (saxophone, vocals), Huw Lloyd Langton (lead guitar), John Harrison (bass), Terry Ollis (drums), Dik Mik (electronics) & Dick Taylor (guitar) - firing off each other in a manner honed over a year of gigging but still maybe slightly tentative; studio nerves perhaps?  What they are doing, though, is developing the sound, that, following a line-up reshuffle (Hawkwind's truly defining characteristic), would explode from the following year's 'In Search of Space',  the album that would perfectly encapsulate the truth of the statement at the top of this post.

It has it's champions but 'Hawkwind' has long been regarded, perhaps at best, as a curio within the bands catalogue, a tentative first step, but you know the cliché about adventures and first steps, and this one started a whole series of adventures that have lasted 55 years with no sign of stopping.

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Orlam

P.J. Harvey
Picador Poetry

Nine-year-old Ira-Abel Rawles lives on Hook Farm in the village of UNDERWHELEM. Next to the farm is Gore Woods, Ira’s sanctuary, overseen by Orlam, the all-seeing lamb’s eyeball who is Ira-Abel’s guardian and protector. Here, drawing on the rituals, children’s songs, chants and superstitions of the rural West Country of England, Ira-Abel creates the twin realm through which she can make sense of an increasingly confusing and frightening world.

Orlam tells of a year in the life of Ira-Abel Rawles and her home of Hook Farm in the village of Underwhelem.  In the nearby Gore Woods Ira meets her own personal deity, the bleeding ghost of a soldier callled Wyman-Elvis, and finds sanctuary in her own ritual world.

Written in Harvey's native Dorset dialect - crucially with each poem also presented alongside it's modern English translation - this is a bold and bedevilling journey through a deliciously dark melange of the magical logic of chidhood and its associated rituals along with the often dark realities of growing up, of life on the cusp of adulthood, all fed through the filter of an early post-modern  1970s rural childhood where the familiar, the exotic, the profane and the perverse all come together into a dark and delirious masterpiece of rural horror.

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Wild Folk: Tales from the Stones

Jackie Morris (words)
Tamsin Abbott (images)
Unbound

Wild Folk comprises seven richly illustrated fables of transformation and power, summoned from the ancient stones beneath our feet and transformed by word and image into portals between past and future.

Jackie  Morris has produced a series of beautiful books over the years, many of which grace the bookshelves here at Wyrd Manor but beyond sharing a few of her paintings on the Wyrd Britain facebook page she's been conspicuously absent from the blog.  We're rectifying that right now with this lovely new book written in collaboration with stained glass artist Tamsin Abbott.

'Wild Folk' contains seven folklorish tales inspired by such diverse influences as classic folktales, the label of a cider bottle, a castle, W.B. Yeats and an island but what they have in common is their themes of a deep abiding love of the natural world and the mysteries it holds and a need to protect both.  Here she tells stories of hares, foxes, selkies, owls, trouts, swans, and ravens in a poetic prose, words often tumbling down the page in an almost race to present themselves.

Like all the best illustrators Abbott's art reflects these themes, encapsulating and reinterpreting the stories using her chosen medium to bring an additional vibrancy to the  stories, an expressiveness gained in no small part to the literal illumination that animates the art.

Not all the stories work as well as one would wish, 'The Owl's Tale' has a jarring shift mid story and 'The White Hare's Tale' is a tad heavy handed but generally this is a delicately wistful and rather beautiful book that I devoured over the course of an evening.

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Master of Reality

Recorded in early 1971 and released on the 6th of August, Black Sabbath's third album, 'Master of Reality', saw the band release another genre defining record developing further on the two previous albums, 'Black Sabbath' & 'Paranoid'.  Having recorded and released two albums and toured around the world during 1970 the band were on top of their game and with more studio time to play with the band downtuned their instruments, smoked an unfeasible amount of hash and headed off into the void. 

Eight tracks over a thirty four minute run time including four songs - 'Sweat Leaf', 'After Forever', 'Children of the Grave' & 'Into the Void' - that would come to be considered amongst their greatest, the band forged the heavy, groove laden sound and lyrical themes that would later come to define Grunge, Doom Metal and Stoner Rock.   

Like it's predecessors the album was poorly reviewed by critics but embraced by the public charting high on both sides of the Atlantic and, to date, selling in excess of 4.8 million copies worldwide.  

Writing this two weeks after the Ozzy's passing I know it'll always be their peerless debut that lives at the centre of my affections, but some 40 odd years on from when my Uncle Mike introduced me to them - thanks man - and at a point in my life when I listen to almost no rock music, that album and 'Master of Reality' number among a very few that are still rarely far from my record player.

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Figures Crossing the Field Towards the Group

Rebecca Gransden
The Tangerine Press

A pilgrimage. An England in delirium.

In the midst of an apocalyptic event of unknown provenance – a mass of red spreading north from the southern counties – a young girl sets out on a journey. Along the way she encounters a series of eccentric characters, the few left behind in the wake of a widespread evacuation. Some of these individuals are ravaged and on the edge of death, while others are immersed in their own hermetic practices, be they solipsistic, nihilistic, or otherwise. None wish to engage for more than the brief time necessary to offer their meagre assistance

Rebecca contacted me recently with regard to her book and a read of the synopsis alongside a glowing review from Iain Sinclair -  ‘Linguistically inventive, alert in every sense, and propelled with such narrative force that hairs burn on the unsuspecting reader's neck.'  - was all I needed to avail myself of a copy.

A post-apocalyptic novella that accompanies 'Flo' on her journey across an emptied land, its inhabitants having fled the unknown apocalypse spreading from the south.  It's effects on those who've remained are as profound as they are bizarre but it's most obvious impact is the altering of the written word, reducing it to single syllables, a deconstruction of language that gives the book the deeply lyrical character of Beat or Jazz poetry as the words fracture and tangle, tumbling over each other to create a delerious, occasionally nightmarish, vision of a land stripped of cohesion, slowly degenerating, reducing itself to a primordial state.

At first look, this broken narrative felt daunting, an obstacle placed directly in the reader's path, but by the third page, it became the novellas' strongest feature, one that immerses rather than repels, giving Flo's journey the character of her name.  There were moments that didn't necessarily work for me  - the chapter titled 'Public Information Dreams' seemed purposeless - and the enigma of the ending will,  I suspect, frustrate as many people as it enthralls but, and I say this unreservedly, I adored this book to the point that I'm certain I'll revisit this decaying world again soon.

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