CIRCULUS

Let's face it: you either love this sort of stuff or cannot possibly see the appeal, but for my money I reckon this is a pretty decent example of this sort of thing. Whether there's all that much substance here beyond the schtick is another matter, and I tend to find that listening to the album just makes me want to go and revisit the band's various influences yet again, but if you can't get enough of this sort of thing this is inoffensive.

The opening number 'The Ecstasy of Digging in Graveyards' signals the shift immediately, with vocalist Michael Tyack's new narrative style and a minimalist approach musically. While it works well here and on the mystical 'Seeking out the Sacred Sites' and 'Stories from my Book of Dreams', what should be the prog centerpiece, 'Creation Wears a Golden Coat', at 10+ minutes, is at least 3 or 4 minutes too long, and I'm being generous. While the running time is higher than past efforts, the repetitiveness and the higher ratio of instrumentals do pad the output. Luckily, both the medieval 'Scarlatti', with its harpsichord-ish leads, and the space age 'Earth Disco' triumphantly confirm the band's continued prowess. In the meantime, the single, 'Tintagic', is nigh as delightful as anything we've heard from them, whimsical and addictive in both lyric and melody.

One aspect of Circulus remains intact, their ability to distinguish themselves in a crowded field while never quite threatening to capture the flag. On most days, that's good enough for me, and reason enough for them to be born again in whatever form.

Not surprisingly, and consistent with the previous offerings by CIRCULUS, the album kicks off strongly, with the inspiring "Transmuting Power" both setting the stage for the arduous voyage to come as well as the successful arrival. Tyack's earnest vocals act as both play by play person and color commentator, while the shimmering keyboards complement the acoustic guitar backing. The voices of either the ship's computers or the all too wiling natives of the new world are swollen with helium, which initially detracted for me but subsequently won me over. "Guide our Way" is more reflective but nearly as rewarding, with flute playing its usual pivotal role and Holly- Jane Shears supporting on vocal harmonies. Lofty statements are made but they neither detract nor enhance.

For the rest, the light hearted "Michael's Garden" and the hippy anthem "Within you is the Sun" that cedes the lead reins to Holly-Jane are the most engaging. As I write this, a new album "Birth", their first in 9 long years, is newly available. Perhaps they needed that long to regroup and return with a fresh insight, or they were just struggling to implement the message behind this album's title. Not quite as engaging as their first 2 projects.

Well, back to the start then. "Dragon's Dance" kicks off with brooding a cappella before more spirited flutes, vocals, and bass accompany this short but accomplished number, that even includes a sweet crumhorn solo. In general, the bass, flutes and synths dominate this album musically, juxtaposing ancient stateliness and the gurgling of industry with surprising success. "Song of Our Despair" is even better, with gentle electric guitar then flute and voice. A few organ washes color the powerful bluesy introduction to the rather disappointing chorus, which is a bit of a recurring theme, as is my complaint about it. Still, some of the synth work here is so imaginative and unnerving that it succeeds in spite of itself. The sheer verve of the electronics overload in such foreign settings is admirable, like a child who flouts authority so creatively one is loathe to criticize. Yes they are often over the top but never irritating. The peak is next, the mystical "Willow Tree", with its brooding verses and emotional vocal performance by Michael Tyack, fat bass lines from George Parfitt, and a swirling keyboard oriented climax. It transcends the subgenres to which it purportedly belongs, like a rock band that discovered Wicca and cast this piece as its first spell.

Unfortunately, "Wherever She Goes" sounds like that rarest of songs, a weak mid period CLANNAD number, right down to Lo Polidoro's vocals, and "Velocity Races" is utterly lacking in spirit. "To the Fields" is also low on energy but is far more wistful and succinct, with Hackett-like acoustic guitar and flute, combined male and female vocals that are almost whispered, and an unhurried melody.

The album closer is the most psychedelic, and atypical for the group, dominated by an addictive rhythm and vocals that sound as though piped through an old CB radio. Through fits and starts the band conveys the dubious nature of reality, rendered more tenuous by whatever they are smoking or otherwise consuming. I've bought in just a little more this time around, and, while this isn't materially better than "The Lick on the Tip", I'm going to round up this time because I'm probably only right twice a day, and that moment is now.

One might be forgiven for assuming that the visuals would be the most exciting aspect to the band, but on their debut they have integrated a host of influences from the golden era into their distinguished vision. Bands like COMUS, SPIROGYRA, and INCREDIBLE STRING BAND are likely influences on the Olde English axis while others like STRAWBS, DECAMERON, and PENTANGLE seem to have inspired the more reserved English folk rock building blocks. While the 40 odd minute album length might be retro, the production is crystalline and the band marshals more technology in the form of confident lead guitar, synthesizers and other keys than would be the typical bill of fare, without sounding out of place amongst the citterns, flutes and crumhorns.

Most impressive are the opening three tracks, "Miri" with its wayward yet spot on harmonies and rock backing leads into the stunning and hypnotic "My Body is Made of Sunlight" which Spotify deemed appropriate for my introduction to the band a month or so back. "The Scarecrow" is of nearly the same quality, but where they sound most like DECAMERON circa "First Light", though not the "Scarecrow" piece from that album. After these brilliant numbers the album settles back a bit. "We are long lost" gets the nomination for most disappointing denouement after an eerie expectant opening, being overly reliant on repetitive lyrics that sound like they were an afterthought. "Swallow" is pleasant enough and tends to get the most attention due to the participation of Marianne Segal on vocals from the early psych folk outfit JADE, but it's a bit lost in the jumble. Two instrumentals spotlight the band's predilection for ambient and trance like arrangements, with "The Aphid" being by far the better, sounding like a fresh take on the lengthy break on STEPPENWOLF's "Magic Carpet Ride". "Power to the Pixies" is a solid closer, embracing ancient mythology, which I'd like to think is what CIRCULUS likes to think they are about.

This is a refreshing perspective on several endearing styles that have taken a licking in recent decades but endure. 3.5 stars. Thanks, Circulus!

Well, there is something about a band who dresses in medieval clothing and sings about pixies that appeals to me! I managed to discover the band as I was sharing a bill with them at the Mosely Folk Festival in 2006. Youtube also helped my appreciation as well.

The album is of the length of the average vinyl album of the 1970s which doesn't cause me any problem whatsoever. First and foremost, the cover is fantastic and the music contained within is a fantastic slice of Acid Folk/ Prog Folk. I wonder whether Comus are an influence? Their music is lighter by all means, but the overall sound of the album is very pastoral and a couple of songs could have easily gone on the soundtrack to 'the Wicker Man.'

My favourite tracks are Miri It Is, My Body Is Made Of Sunlight and Power To The Pixies.

I recommend this album to Wicker Man enthusiasts, Morris Dancers, Real Ale lovers and Folk Progsters everywhere.

This album grows on you like fungus with each play. It's beautifully produced; the definition on all instruments coming through crystal clear. The musicianship is impressive too. I would like to hear more female vocals throughout, and also more extended play, but there are some fine moments.

'Dragons Dance' is a quirky opener, which didn't do much for me on first listen, but I think it takes time to get to know what this band is about, and what they are trying to achieve, and the nature of their sense of humour. 'Willow Tree' is among my favourite songs. The moody verses are complimented by the male/female harmonies, and the synthy interludes provide a wonderful contrast to the more trad sounding vocal sections. 'Wherever she goes' is a haunting ballad, with lyrics that make me think of the maypole song from the Wicker Man: 'In the ocean there is an island, and on the island grows an oak, beneath the oak lies a casket'.

'Bouree' is an instrumental, which has great moments when the Crumhorns come in alongside the Moog, although some of the tunes are little too 'chirpy' for my taste. It's a track of great potential, and is evidence of what Circulus are capable of. It should have been longer, a little darker, a little funkier perhaps, but it's coming from a good place. The best track is the closer 'Reality's a Fantasy' Circulus skilfully combine their folk elements with spacious Moog flurries, and a vocal part sung through a two way radio, sounding as if singer Sam Kelly was performing on the Moon and singing his heart out to mission control. This is the track I play to people when I want them to hear Circulus. It's arguably not the most representative track, it just happens to be their most atmospheric and interesting IMO.

I'm awaiting the arrival of their debut, 'The Lick on the tip of an Envelope Yet to be Sent' The reviews on PA seem to favour the debut over 'Clocks are like People' Perhaps it's typical of me to do everything back to front, but I shall post a review of the debut in due course. For now, I'm left wanting to see this band live, and wanting to hear more. 'CALP' is arguably patchy, but the formula is fantastic and I look forward to their next album.