Matt Berry - Witchazel

Matt Berry - Witchazel
Self-released March 2009; Acid Jazz, 2011
Recorded at Matt Berry's Home Studio, London, UK
Produced by Matt Berry

Most people will know actor/comedian Matt Berry for his roles in the TV series The IT Crowd and Toast of London to name just a few. Little people know that alongside his acting career, Matt Berry has also been writing, releasing and performing his own eclectic brand of music. Drawing influence from sixties and seventies folk, progressive rock and electronic music, Berry's take on these often ridiculed genres stands shoulder-to-shoulder alongside any of his comedy work. Berry's music is enchanting, ambitious, and unlike anything around at the moment and deserves to be recognized and applauded.

Witchazel is Berry's first album on the Acid Jazz label (he self released Jackpot in 1995 and Opium in 2008). Recorded at his home studio, Berry impressively plays the majority of the instruments himself. Officially released on vinyl in 2011 (was available as a download on his website in 2009), Witchazel conjures up whimsical images of the English countryside, with lyrics concerning pheasants, maypoles, badgers, and the like. Berry mixes common psych-folk subjects with his own surreal word play, wit and charm. There is a darker element that lurks beneath the flute-jigs and woodland dances that makes this an intriguing, slightly disturbing listen. The darkness can be heard especially on songs like 'Accident at a Harvest Festival' in which Berry tells a strange tale of a gruesome gun incident and the frightening synth breakdown/spoken word section at the end of 'Take My Hand'. Most of the songs are connected together with small instrumental fragments, gluing together this brilliant and bizarre trip through the strange and imaginative world of Matt Berry.

The song 'Take My Hand' is one of Berry's most well-known tunes. It has become a bit of an underground anthem as Berry used the song as the theme tune for his award winning series Toast of London in 2013. An upbeat piano-led song, 'Take My Hand' has ridiculously catchy lyrics and melody, both crucial ingredients for creating a joyous opening to the record. Not only does the song highlight Matt Berry's melodic abilities, but also his production and musical engineering skills. Berry incorporates various moog synths, brass, strings, bells and the odd glockenspiel, all perfectly mixed together to create a lush and dreamy ambiance - a sound which underpins the entire the album.

Following 'Take My Hand' is the wonderful breezy folk tune 'A Song For Rosie'. A catchy lyric combined with an almost nursery rhyme-like rhythm make this a really memorable moment for me. Berry tackles many more styles on Witchazel, including a blistering take on 1960s garage rock. 'So Low' opens with a pulsating, yet primitive piano riff, which really drives the song along. 'So Low' is one of the more punchy pieces, enhanced by some fuzzy organ and guitar work which wouldn't sound amiss on the well-known psych compilation Nuggets: Original Artyfacts from the First Psychedelic Era. 

Berry's most progressive rock moment though is the 8 minute epic, 'The Pheasant'. The song begins life as a strange folk number, but quickly evolves into groovy late 1960s psych song with a twangy guitar riff reminiscent of 13th Floor Elevators or Jefferson Airplane. However, Berry keeps the listener on their toes by doubling up the riff with a synthesizer (think Rick Wakeman circa 1973!). Immediately, the song is back in the English prog rock vein which emphasizes Berry's uncanny ability to fuse styles and sounds effortlessly. My favourite section of 'The Pheasant' is the beautiful acoustic guitar mandolin interplay at about 2'45. A stunning descending bass melody, with lovely textured acoustic playing is a clear nod to Mike Oldfield's more acoustic moments on the seminal Tubular Bells. 'The Pheasant' follows a number of melodic, rhythmical changes throughout, which challenge and excite the listener. After a period of musical chaos, the song resolves, reaching its climax at the 7'30 mark with an epic synth fanfare - one Jean Michel Jarre would be proud of! 'The Pheasant' ends where it began with the strange folk section, concluding arguably the albums musical centerpiece.

Other great tracks is the beautiful string-laden ballad 'Woman', containing an epic David Gilmour inspired guitar solo and the psychedelic 'The Badgers Wake' which has some interesting vocal layering effects and even a spoken word section at the end. One of the stranger moments on the record is later on Side B, the bizarre soft-rock-meets-funk number 'Rain Came Down'. The tunes outro features Peter Serafinowicz doing an impressive, but ridiculous Paul McCartney monologue! The album closes with the dreamy 'Roosting Time' which has layers upon layers of ambient textures and sounds. Satisfyingly, 'Roosting Time' ends with a 'Take My Hand' reprise - the perfect closure to Witchazel!

I'll admit, the album is a bit weird in places and takes a few spins to get into, but that only adds to the depth and layers that are uncovered on each listen. What I love most about the album is it doesn't take itself too seriously. It is by no means a comedy album or a parody. Berry does, however, recognizes the serious and pretentious nature of the music and is not embarrassed to incorporate the more ridiculed elements on Witchazel. Proggy folk-rock is undoubtedly the music he loves and what he enjoys writing and performing and this passion is evident throughout this album. Although probably not my favourite record of his (I think that goes to the sublime Music for Insomniacs - but that is a debate for another day!) Witchazel is a great LP and a clear homage to his musical heroes, and gets better and better with every listen!

Key Tracks:

Take My Hand
A Song For Rosie
So Low
The Pheasant

If you enjoyed this album, check out:

Matt Berry - Kill The Wolf
Fairport Convention - Liege and Lief
Yes - Tales From Topographic Oceans
Mike Oldfield - Hergest Ridge

Heron - Heron

Heron - Heron
Dawn, 1970
Recorded in the Devonshire countryside
Produced by Heron

The Wellington Public Library has always been a good source for discovering music. A number of years ago, I came across a compilation of a British Folk group called Heron, whilst painstakingly trying to find something obscure to entertain myself! I saw the striking cover of four long-haired hippies and I thought I would try my luck. Unwittingly, I had just borrowed one of the most charming collection of recordings of the British folk scene.

Heron: The Dawn Anthology has two disks containing all the music this group record between 1970 and 1972. The first disk is comprised of their self-titled debut album and their second double album, 'Twice as Nice and Half the Price'. Although I enjoy both discs, the bands debut album is one of the more striking British folk records of the early seventies and the subject of today's blog.

Formed in Maidenhead in 1967, Heron were part of a wave of British folk groups like Fairport Convention and The Incredible String Band. Consisting of songwriters Tony Pook, Roy Apps, and Gerald Moore, Heron found the studio a negative environment and struggled to put their music on tape. In order to overcome this obstacle, Heron took the whole earthy, pastoral-folk to a whole new level and decided to record their debut in a field! You can hear the sounds of birds, the breeze and general noises of the English countryside all captured using basic recording equipment. Recording outside had been done before by Led Zeppelin and others, however, Heron were probably one of the first groups to record (please correct me if i am wrong!) an entire LP outside.

The album opens with 'Yellow Roses', A beautiful folk-pop tune, with a gorgeous and infectious melody. Easily the most commercial song on the LP, the subtle sound of birds chirping during the opening few bars which really sets the mellow mood of the album. The minimal instrumentation (mostly acoustic guitar, mandolin and piano) is perfectly completed with breezy three-part vocals and sing-along chorus. One of my all-time favourite songs, how 'Yellow Roses' wasn't a hit is completely beyond me!

The mellow vibe continues with the gorgeous 'Car Crash'. Reminiscent of Simon and Garfunkel, 'Car Crash' is a short and sweet duet between Roy Apps and Tony Pook which is showcases the bands gift for melody and their intricate guitar picking. The guitars weave magically, like the voices, in and out of each other creating great depth and resonance without the need for overdubs. 'Smiling Ladies' is in a similar vein to 'Car Crash', with beautiful acoustic interplay and a descending, almost Beatlesque melody. One of the stronger melodies on the album, 'Smiling Ladies' is enhanced with a wee mandolin line that fits perfectly between the vocals and guitars. Both tunes sound like they were recorded in one or two takes with an emphasis on the overall feel rather than the accuracy of the playing. Yes there is a few bum notes here and there - but it only adds to the charm!

One of my favourite tracks is the the second of the two versions of 'Sally Godin', The tune begins with a jaunty harmonica line and hand claps and the first few bars are sung solo. However, each run trough another vocalist joins in harmony until the whole band are singing along. I love this version and I always think would have been a lot of fun to record that day - you can also one of them stifle a laugh during one of the vocal refrains! Interestingly, the band show a more progressive folk influence in places, especially on the moodier 'Harlequin 2', with its jarring organ and slightly-jazzy arrangements. 'Harlequin 2' and the mystical 'Lords and Master' are perhaps more reminiscent of groups like Donovan or the Incredible String Band.

The strength of this LP is the imagery and vibe it exudes. The music paints a picture of an idyllic English countryside on a peaceful and mellow afternoon. I have never heard a record like this in my life - something so warm and naturally atmospheric. I love the long pauses between songs, hearing the bands chit-chat and the gentle hum of the wind. Heron were very melodic, simple, and unashamedly poppy in places, something which sets them apart from their more 'serious' contemporaries. Indeed over, some of the songs are half finished and perhaps a tad rushed, yet the whole LP is very natural and organic and exceptionally performed. Heron's in-the-moment approach has intrigued me for years and been a constant source of inspiration.

Disappointingly, the album was released to little fanfare and Heron faded into obscurity. The band recorded one more album, 1971's Twice as Nice and Half the Price which didn't fair any better. The release of Heron: The Dawn Anthology has helped give their music a second chance and a wider exposure. Every few years I return to Wellington Library to borrow this CD, and every time I am absolutely spellbound. This album is a must have for any fans of British folk music or anyone who loves discovering obscure music like I do!

Key Tracks:

Yellow Roses

Car Crash

Sally Goodin
Smiling Ladies

If you liked this, check out:

Nick Drake - Five Leaves Left   1969
Fairport Convention - Liege and Lief   1969
Incredible String Band - The 5000 Spirits or the Layers of the Onions    1967
John Martyn - The Tumbler   1969