Saturday, 20 February 2016

In the cities of your eyes

I've got into the habit of playing a featured compilation every month in my Dandelion Radio show.  I'm not sure where that came from, to be honest, but,   when you hear an album featuring as many great artists and bands as this one, it's only natural to want to bring it to the attention of as many people as possible.   I suppose that's the only reason that matters.
It's for a great cause too, all proceeds going to the refugee camps in the Greek islands.  It'd be a compilation worth having even if that weren't the case, all of its eighteen tracks offering something intriguing while a good number of them are truly outstanding.
Highlights include a contribution from the legendary Cindytalk - 'Lost in the Hum of the World' - and the bewitching 'Necropolis (6th of December)' from Salonika's Dimitri Panas.  Both have a beguiling, enchanting quality of a kind that runs through so much of this compilation and their omission from this month's show says much about the quality of the three tracks I've gone for.
They include a long-time favourite in the form of Sandfingers' weirdly evocative version of 'Pilgrim', the album's opener.   Members of Sandfingers contributed to the Twice Dead session you may have heard in my January show and they were creators, of course, of that considerable shadow of influence left by The Chasms, for me still the best band to appear this century.
I also feature the contribution from Howling Larsons ('Smile in Your Sleep (Hush, Hush)', whose brand of dark folk I now realise I've not given enough attention to in the past.  Alan Trench from the Larsons is also involved with Temple Music, whose 'They That Go Down to the Sea in Ships' is a bonus track that may well be the best thing on the release.  Needless to say, that features too.
But there's not a track on there that isn't worthy of your attention.  This is a gorgeously diverse and thought-provoking compilation and, what's more, the nine euros they're asking for it helps people.  Get it here

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