Cobalt Chapel – Cobalt Chapel

2 02 2017

rsz_cobalt_chapel_editedCobalt Chapel are a psychedelic / folk duo featuring Cecilia Fage (Matt Berry & The Maypoles) and Jarrod Gosling (I Monster, Regal Worm), and they have just released their debut album on the KLove label.

The late 60s / early 70s inspired music is built round the vocals of Fage and the classic keyboards (mostly organ) and drum machines of Gosling.

The album is very dark and perfectly suited to the Autumn and Winter seasons. The songs conjure up moods and memories from an England long lost to technology, reality television, rampant commercialism and a loss of imagination and mystery.

Album opener We Come Willingly is a tale of murder, driven by the album’s signature organs and vintage drum machines fed through an army of effects.

Fruit Falls From The Apple Tree continues the baroque ‘n roll feel, with a lovely layered vocal during the middle section, as the keyboards and low bassline shuffles alongside the powerful drums. I love the mixture of progressive and folk music that runs through all the songs on this fine debut album. And an album is what it is – built to be heard in one setting, in sequence, so you appreciate the journey as the artist intended.

Ava Gardner is a short instrumental that precedes one of my favourite tracks on the album, Who Are The Strange.

Reminding me a little of early Portishead mixed with The Shortwave Set (whatever happened to them?), this was the first track that Fage and Gosling wrote together.

The lyrics tell the story of a near-death experience and the rattling effects and stabbing organ are as unsettling as the lyrical content.

The Lamb is a cover of the John Tavener choral piece that you may know from the film Children of Men, and is the most moving track on the album. The arrangement is simple but its a beautiful, stunning performance, with wonderful harmonies from Cecilia Fage.

Photography by Alex Lake

Black Eyes is inspired by the 1975 film The Stepford Wives. Distorted drums and keys, along with a slowly mutating arrangement, underpin this sad song of transformation and loss of will.

Singing Camberwell Beauty is the first song that I heard from the album, and it remains a favourite. A playful fairground waltz that gets darker as it progresses – and a song that will surely appeal to Saint Etienne fans due to the spoken interlude


Singing Camberwell Beauty is not “the last waltz” on the album,  as Maze is a short Camberwick Green on acid piece that leads into Two.  The album cover will give you a clue about the “two heartbeats” referenced in the song.

Horratia is “the story of an aging B-movie actress revisiting her life and career; a young face that many people once remembered and now an old face that is all but forgotten, except in the minds of obsessed horror/sci-fi convention-goers…” I love the twists and turns in the instrumentation on this track.

Positive Negative is inspired by The Avengers, and has a wonderful, slow building malevolent end section as layer upon layer of distorted organs pile on top of the vocals.

Photo by Chris Saunders

The album ends on Three Paths Charm and is the longest track in this collection. A mostly instrumental piece, with the occasional backward vocal lines and chants, acting almost as a summary of what has gone before.

Cobalt Chapel is a captivating first release, and there is a real continuity in the instruments used and the textures and moods they create. Its very easy to lose yourself in this album, and I am really looking forward to what the bewitching partnership of Cecilia Fage and Jarrod Gosling cook up in the (hopefully near) future.

Buy the CD on Amazon

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Henry Fool – Men Singing

1 03 2013

"Men Singing" coverMen Singing is the long-awaited follow-up to the band’s 2001 self-titled debut.

The 2013 line-up of the band includes new collaborators Jarrod Gosling (I Monster/Regal Worm), Phil Manzanera (Roxy Music) and classical violinist Steve Bingham and drummer Andrew Booker (both part of the current live no-man line-up).

The debut Henry Fool album was a mixture of instrumentals and songs, whereas Men Singing is a solely instrumental album, and is a much more coherent listening experience.

Men Singing was recorded over a long period of time – between 2006 and 2012, with Jarrod Gosling and Phil Manzanera adding their contributions towards the end of the recording process. Phil Manzanera adds guitar to Everyone In Sweden and Man Singing. Jarrod Gosling appears on all four tracks, contributing Mellotron, glockenspiel and the excellent album artwork.

Album opener Everyone In Sweden sets the mood, with shifting time signatures, and solos alternating between guitar, jazzy saxophone, and very distorted bass. The music shifts across genres, often two or three times in the same song, which is a great way to keep you listening, especially in the longer pieces. Some instrumental albums can be hard to listen to in one sitting, but Men Singing is certainly not background music, and the performances demand your full attention.

The vintage keyboards often give a real early to mid-70s feel to the pieces. There’s a wonderful section 7 minutes in to Everyone In Sweden, the album’s longest track, where everything breaks down, and keyboard washes give way to a mournful sax and guitar line as the piece ends.

Man Singing, which of course has (no) man singing, is a slower paced affair, and features no-man’s Tim Bowness on very angular chord/arpeggio guitar. There are hints of Adrian Belewesque guitar sounds on the album, which along with the keyboards, sometimes give a feel of Bowie‘s Berlin trilogy as well as more obvious King Crimson influences. The cut to the basics chorused guitar and strings ending works perfectly on this track.

Track 3 is the perfectly titled My Favourite Zombie Dream, which has a real feeling of dread and anticipation about it. Oscillating strings from Stephen Bennett underpin the piece, as it slowly builds to it’s climax, like a soundtrack to a yet-to-be released George A. Romero film.

The final track on Men Singing is the 13 minute plus Chic Hippo. The violin playing of Steve Bingham features heavily, and Stephen Bennett (according to the sleevenotes) is credited with Miles Davis, Mavis Riley and Terry Riley impressions. Mavis Riley? That must have been difficult to pull off – “ooh, I don’t really know”.  Apologies, no-one under 45 (or anyone outside of the UK) will get that cultural reference.

The mid-section of Chic Hippo is one of the most rewarding parts of the album. Fluttering church organ sounds give way to sax riffs from Myke Clifford that would not have sounded out of place on early Bowie or Roxy Music albums, topped off with some wonderful slide guitar from Michael Bearpark. The percussion work from Andrew Booker is another highlight of Chic Hippo.

Men Singing is a strong second album from Henry Fool, and a radical departure for Tim Bowness. Have a listen to the edits on this page, via SoundCloud and YouTube. Another indication of the quality of this album is that it was mastered by award-winning Pink Floyd sound engineer, Andy Jackson.

The album is likely to appeal to fans of mid-period Porcupine Tree as well as those intrigued by Steven Wilson‘s recent foray into more improvisational / jazz-rock influenced material. If you like albums that disturb as much as entertain, then let the men of Henry Fool sing for you.

Henry FoolMen Singing
(KSCOPE244 / 836) – March 11th, 2013 – available in vinyl and CD versions

Order Men Singing from Burning Shed

Buy Men Singing on Amazon UK








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