NO MORE BRITISH SHIT I HAVEN'T HEARD OF
One World is the seventh studio album by British guitarist and singer John Martyn, released in November 1977 by Island Records. The album, produced by Island owner Chris Blackwell at his Berkshire farm, was recorded with a myriad of musicians, including Steve Winwood, Danny Thompson, John Stevens, Hansford Rowe and Rico. The album followed a sabbatical where, at Blackwell's invite, Martyn holidayed in Jamaica in 1976 with his family, having become disillusioned with the music business. The trip helped revitalise his interest in music. The album combines Martyn's experimental tendencies with more pop-leaning material, with influences from the dub music of Lee "Scratch" Perry, with whom Martyn worked during the trip to Jamaica and co-wrote the song "Big Muff". The record features a relaxing, echoing sound with usage of Martyn's distinctive Echoplex guitar effects, while his lyrics discuss love, specific people and his disintegrating marriage. Some of the recording was achieved outdoors, with Island's mobile recording studio being used to operate a live feed across the farm's surrounding lake; microphones picked up the full ambience of the area, including natural reverb and surrounding geese and trains, helping contribute to the album's sweeping sound.Upon its release, One World received acclaim from music critics who hailed its inventive, unique sound and lyrics. Martyn toured in promotion of the album in late 1977, whilst a televised performance at the Collegiate Theatre, London in January 1978 helped the album becoming Martyn's first chart success, reaching number 54 on the UK Albums Chart. "Dancing" was released as the album's sole single a month later. In later times, the album has been credited for helping develop trip hop music. In 2004, a deluxe edition of the album was released by Island, containing bonus live material. The album is included in the music reference book 1001 Albums You Must Hear Before You Die.
NO MORE BRITISH SHIT I HAVEN'T HEARD OF
a mix between garbage and porn soundtrack
Make. It. Stop. Other than some instrumental work on "Small Hours", I couldn't wait for this album to be over. Anti-groove jazz.
When his voice first came in, I hated it, and was preparing for an excruciating 40 minutes. But that was the only part where I noticed his voice stand out, and then in blended in to an ocean of excellence. This is the most surprising album I have had so far and is going on regular rotation.
This was an inspiration. There are problems with production that at points feels dated, but once I let this go and got past some of the more late 70s/ early 80s sounds, I felt uplifted and held by this album in a way I haven't by many albums. Small Hours blew me away, it's wonderful ambient guitar over a simple pulse beat, eventually leading up to a short song, before returning to guitar and sound was perfect. It's made me want to hear more.
This album was a 4 right up until "Small Hours." I've listened to it probably ten or more times in the last 24 hours. Easily becoming one of my favorite songs of all time. One of the most soothing, cleanest albums I've heard in a long time. Highlights: 1, 2, 5, 6, and 8.
An adorable dreamy piece of work. This was my 110th on this, and I loved every moment of it. 5 stars because there arenât 6.
I reviewed John Martyn's Solid Air earlier in this project, and enjoyed it more than I was expecting. Based on that, I thought I knew what to expect with this record. And was pleasantly surprised again. Much of side 2 seems like a fairly natural progression from Solid Air. Similar smooth jazz/soul/funk/folk blend, now with a touch of latin rhythms on Certain Surprise, with Martyn's foggy voice woven beautifully through the arrangements. I love his voice, which he uses like an instrument, although sometimes his slurred diction slides almost into self-parody.Take it easy, John. But side 1 is a revelation. The heavy use of effects, especially delay, and dub production techniques (without being pastiche - this is definitely not reggae) is something quite fresh. Big Muff is co-written by Lee Scratch Perry! I can see the influence, without it sounding like a Lee Scratch Perry record per se. I really loved the songs on side 1. Discretely funky, weird sounding without being abrasive, without any histrionics. I can see how these tracks (especially Big Muff and Small Hours) are cited as influences on trip hop, especially Massive Attack. This album caught me by surprise, and I really enjoyed it. Haven't heard much quite like it, and it really grabbed me (especially side 1)
This didnât feel like a mediocre album of its era chasing the Beatles hype. No, it felt like a mediocre album from the 80s instead, when everyone was fascinated by bad âworld musicâ. But hey, at least itâs ahead of its time I guess?
This fucker wrote a song called Big Muff.
yacht prog and iâm 1000% here for it.
Forgettable. One World vocals sounded like an old man on quaaluds trying to sing with apple sauce stuffed in his mouth.
No lo vi venir. Parece Nick Drake. Volverlo a escuchar para darle un rating mĂĄs justo.
âWhat the fuck it this?â I noted with a frisson within a few seconds of putting this on last night. Yacht rock-jazz fusion left me baffled and unanchored: promising sensations! A day in, I am still perplexed, but I do like this dolphin make-out music!
Never could get into John Martyn, his vocal style suiting his best songs well ("Big Muff", the highlight here), but sounding like a drunk busker on the remainder. A gateway drug for schoolmates on the dirty path to crustydom, later serving as key inspiration for the Dave Matthews Band (who I actually like) and others like Blues Traveler (who I really do not). Congruent with a below-average Van Morrison album.
There are some good sounds on this album, but it feels kinda sleepy to me... I also donât dig his voice, but there are a couple good songs on this. Favorite Track(s): âDealerâ and âCouldnât Love You Moreâ
This album is really not my thing. Small Hours and Couldn't Love You More are pretty good, but I think my appreciation for the most divergent tracks is telling. The production is well-crafted in the sense that it's interesting, but I'm having a hard time figuring out what it adds up to. I feel like there's more artistic merit than the Supertramp record, but it's still a little indulgent and navel gaze-y. 1.5/5
This was really refreshingly new to me, never heard of this artist before. I just loved the tape-loop guitar sound with kind of jazzy, bluesy sounds layered throughout. I'm definintely going to revisit this.
I saw John Martyn about the time this was released.
Soft and dreamy. Talkative and calm
Didn't enjoy the songs on offer here as much as those on Solid Air, but the overall vibe and sound was lovely with some great guitar work and production. He has created some really warm and interesting tones and atmospheres and this was easy to listen to multiple times, although I was waiting for it to grab me a little more convincingly and it never quite did. His voice has grown on me too, although you can almost feel the cigarette smoke doing its work on his lungs throughout.
Man sings like he smoked a pack a day for his whole life and now has a hole in his throat. At least itâs unique. Itâs not the worst album Iâve ever heard, but I enjoyed very few parts. Inoffensive, mostly. 3/5
In spots, One World hits a funky experimental stride that Iâd liken to late 70âs Eno (think Before and after Science, though it does have its ambient moments) or maybe Soon Over Babaluma-era Can. In others, it kind of has a jazzy 70âs soft rock vibe, which is a little less interesting to me, but overall not bad (with the exception of some scatting, which I find to be unacceptable no matter the situation). The previous John Martyn record I was assigned, Solid Air, was more enjoyable as a whole, but One World is very good, even if has a distinct late 70âs island rock vibe. I wouldnât call this yacht rock, though, itâs way too densely layered, interesting and lacking the superficiality, but itâs adjacent in some ways - like if yacht rock wasnât the lamest thing on earth you could ever possibly be into.
Meh.
not a fan of his voice. a little like brian wilson but not as good. the sounds on smiling stranger are good though
Sonido por completo etereo, suena como pop experimental. Tiene un problema en un bache a la mitad con dos canciones romanticas muy sosas que hacen que pierda un poco el concepto. Los sonidos de experimentaciĂłn en guitarra y amplificadores no van a ser para todos pero a mi me encanto. La Ășltima canciĂłn fue lo mejor del disco. Impresionante pensar que es de 1977, casi se podrĂa notar un atisbo de lo que va a llegar en unos años con new wave y sintetizadores.
I would love to hear more international bands and music. But we get this. Itâs harmless I guess but boring and the song Dancing seems like a precursor to Dave Matthews which is unfortunate. Sounds competent but uninteresting to me.
So I found âOne Worldâ by John Martyn to be a pretty pedestrian late 70âs R&B effort, that easily could have been the sleazy porn soundtrack to the old SNL skit featuring Tim Meadows called â âVelvet Jones â The Ladies Manâ⊠Gee â I wonder what âBig Muffâ could be about⊠Ugh⊠Anyways, I had pretty much written it off completely â and then the final song âSmall Hoursâ came on⊠Primarily an instrumental for all intents-and-purposes, and I found it to be absolutely amazing⊠Reminded me of a less-raw, way-more melodic âMaggotbrainâ by Funkadelic⊠âSmall Hoursâ is probably a 5-stars out of 7-stars in my little rating system, as itâs that good â and it really came out of absolutely nowhere, as the rest of the album is pretty much shite, but based on that 1 fabulous song, Iâll give it a 2 â but youâve been warnedâŠ
The description of this album vs how it sounds is a wild contrast. I expected this to be something sweeping and inspired but the vocals don't even give it a chance to go there. Not coming back to this one.
Album art is interesting. The production is pretty good. The instrumentals are a little manic but often work. Choices were made on the vocals that don't pay off. Small Hours get's an honorable mention for being a nice listen. This album is probably a grower that you would learn to get comfortable with it's imperfections. I don't have the time. 2.5
Big Muff and Certain Surprise gave me the ick. Bad vibes from this album in general.
Oh, there's another John Martyn album on this list? That's neat. I mean, to be honest, it kind of took me a second to remember that there was even a **first** one, SOLID AIR, so what does that say about **that** album, huh? I mean, OK, OK, let me be fair, SOLID AIR isn't bad, by no means. From what I can recall, of all of the albums I'd stumbled across to that point labelled as "singer-songwriter," it was one of my favorites, specifically for its jazzy bits. However, whenever it leaned into folk, that's when I started cooling on it, and ultimately I only ended up liking the thing instead of loving it. And frankly, I thought that was gonna be the situation here, too. I ended up listening to side one twice, and both times, there was just... A thing about it that kept me from truly loving it. Like, oh, sure, the first two songs on side one were great, but then once I hit up "Smiling Stranger" and "Big Muff", that's when stuff went slightly awry. It's like, the first two tracks are just so... I mean, damn good, y'know? The first one has this irresistible little groove to it, and then the title track is this wonderful slice of spacey stuff. But then with "Smiling Stranger" and "Big Muff"... I'unno, I think they were just too comfy staying on one spot for too long. Neither one really has that much instrumental progression, so after a bit they do honestly get a bit boring. "So, what," I wondered: "would this be another 4 for John?" Side two of this album... Oh, side two of this album ain't a redeemer, I ain't know what is. The album's second side is just so quietly beautiful. There's no showing off here; it just glides along at this wonderfully pretty place. From the acoustic glimmer of "Couldn't Love You More", to the tip-tap movement on "Dancing"... It's just such a good listen. And then there's "Small Hours". Oh, goodness me, "Small Hours". An incredible, largely piece of ambience that is legitmately so damn fuckin' pretty to listen to. It feels like a warm hug, softly comforting you and telling you that everything's alright. Legit, I can imagine putting this on if I'm panicking or stressing the fuck out and letting it calm me down. As I'm typing this part of the review, I'm listening to Spotify's auto-generated sample clip on loop, and even just this small portion of it... Oh, wow. Just, wow. This alone makes me wanna walk up to those 1 outta 5 reviews and tell 'em, "Hey, your thoughts are your thoughts, but you can't tell me this ain't just that good. Honestly now." I mean, I'll be 100, this isn't a mind-blowing album â but then, does every album even need to be? And besides, I enjoyed a majority of this thing enough, especially "Small Hours", to overlook any lingering thoughts of "But did I **need** to hear this before I die?" Whether or not I needed to, I'm happy I did, and ultimately, that's more important. Y'know, I read a piece of history somewhere that this album almost didn't get made because. Apparently, John Matryn was burned out on the music industry for... Well, numerous reasons; take your pick, including the death of Nick Drake. But thanks to an extended sabbatical in Jamaica and getting to socialise with reggae musicians, he refound his passion, and, well, this thing was the result. And lemme say, regardless of the end product, I'm glad he found his spark again â and I'm happy it birthed this album into the world. A good-ass time, for sure, and I couldn't dig it more.
Iâm at a 4.5 that Iâll bump up to a 5 on the strength of âSmall Hoursâ as a closing track. Second (and last!) time weâve gotten John Martyn, second time heâll get a 5 from me. Not too much to say about this one, weirdly enough. I think the music speaks for itself here â itâs a natural step forward from the âmore upbeat version of Nick Drakeâ vibes of âPlain Airâ. This is leaning ever so slightly into the synthier tones that would become new wave/post-punk, but by holding back, it manages to create something more akin to soft, jazzy trip-hop, blended with John Mayerâs or Jack Johnsonâs guitar-driven musical sensibilities. When it works, it works really nicely â 6 of the 8 tracks here clicked for me, with only two of them falling short: âSmiling Strangerâ & âBig Muffâ. âSmiling Strangerâ is nice, but itâs just missing an extra kick of energy that would really bring the song together for me. âBig Muffâ is also good, but the total lack of instrumental progression (or even a small sense of it) pulls the track down hard for me. That first minute syndrome struck hard there, but neither of them are actively bad tracks. They just didnât click for *me*. I was fully prepared to bump this down to a 4 because of that â 5 out of 7 tracks hitting well would probably warrant that, but then âSmall Hoursâ happened, and it just felt *that* damn good. Full vibes track, and itâs a natural conclusion to the happier back half of the album, with the beach sounds & the synth work meshing wonderfully for an 8-minute wonderland in my mind. Itâs a good enough album closer that I feel zero shame in bumping this up to a 5. The two tracks I wasn't vibing with are still good to listen to, and my taste is subjective anyway; theyâll probably click for someone else. Overall, just a good album â not quite as good top to bottom as âSolid Airâ was, but itâs still pretty good all the same. Is it one that felt important enough that I had to listen to it before I died? Iâm not sure, but you could convince me thereâs not 1,001 albums out there better than it. If nothing else, itâs given me a blissful track in âSmall Hoursâ. I enjoyed it, and I think itâs worth the bump up from a 4.5 to a 5. Good stuff once again, Mr. Martyn. P.S.: âOne Worldâ is *begging* to be sampled, especially around the 2:10 mark. Someone get on that.
groovy beats
One World is a great album, but I think it's less accessible than the folk funk of Solid Air. You have to kind of squint at it. After this one, Martyn made a couple of albums with Phil Collins. Itâs a good match to be honest, and Collinsâ In The Air Tonight could be a John Martyn song. One World is also considered the prototype for Trip Hop. Which makes Martyn an echoey, dubby, missing link between Nick Drake, Phil Collins and Portishead.
10/10 huge fan of his other album Solid Air and while I definitely like that one more, this was still absolutely delightful
What a treat this album is. I seem to have by-passed John Martyn back in the day, but am delighted to be catching up at last.
FUcking 5/5. It was absolutely amazing. It felt at times like Ray lamontagne, nicotine dolls and some soundscapes. Excellent!
I liked the fast-paced opening and the energy, though the vocals were a bit soft for my taste. Lyrics - 3 Vocals - 3 Production - 5 Originality - 5 Cohesion - 5 Replay - 4 Emotion / Vibe - 5 Replay Value - 5
Great work one legged John
4.5/5
Magnificent
Is this a 5 I donât know but I enjoyed it a 5 this morning(afternoon)
Along with Solid Air & Bless The Weather, this is one of JM's best albums. Never be anyone like him again. ( He also used to drink in local pub)
I loved âSolid Airâ, but I think I love this more. Dubby, hazy, stoned, sad, understatedâŠthis one is for the late nights and itâs lovely.
Another solid album from John Martyn. I really enjoyed the guitar playing on this. I feel like it's coming from a different place than what I normally hear. I'll keep listening to this.
Carves out a place for itself in my brain. Gorgeous.
Never heard of this chap before, but this album was an excellent surprise.
This sounds like it was recorded in a cardboard box. The album is all the more better for this. Production values aren't at a premium; the songs are allowed to develop and steal the show. The message of the One World title track remains powerful. Couldn't Love You More always leads to a few tears. Big Muff makes me smile. Plus Rico!
I like what's going on here. Favorite track: "Dealer."
Ok, so, with John Martyn you've got to be able get over his voice - he has some pretty weird affectations and I guess I can see why some people can't get into it - works for me, though. I've had this album for ages but I've barely played it - I always make a bee line for "Solid Air" instead, which is much more upfront and simplistic with its charms. Re-listening to "One World" as part of this project has actually been a full-on magical experience - I am enchanted! đ§ââïž First play through and it's overall tone is hitting the chill, mellow, occasionally funky vibe I expect from John Martyn, but it also seems kinda busy and I fall back on my '"Solid Air" is the superior album' preconceptions. My copy of this album has a bonus disc full of live versions, demos and outtakes, and listening to those, which often felt a bit more stripped down, I liked them more. Re-listening to the main album again, I tried to dial into that busyness I heard before, and particularly in the first half of the album, the closer you listen the more bonkers things get! There's a bunch of stuff going on that shouldn't work together by rights, but it still somehow adds up to the vibe he wants. I saw another review describe it as "prog yacht" and yeah, that nails it! đ Fave tracks - "Dealer", "One World" (feel like Phosphorescent cribbed from this one), "Big Muff" are all awesome. The top accolade, though, goes to "Small Hours" - good lord that is a serene slice of sublime beauty. Amazing stuff.
Great, soothing listen, especially the final track.
Sounds like some kind of Clapton/Winwood hybrid and Iâm absolutely here for it. Wow.
Great calm album
Easy 5 stars! I have a distinct memory of being in my 20âs and being tasked with entertaining a relative who was in his early teens. He was looking through my iPod and commented that I have terrible taste in music. First off⊠rude. Second⊠he pointed to the song title âBig Muffâ as evidence of my bad taste. He didnât know shit
John Martyn I love when we get an album and artist I am totally unfamiliar with and really dig it. Super cool grooves and textures. I like his voice too even though I canât make out any words. Cool fusion of styles (ambient pop/ blues). Good the whole way through. Great musicians on this record too - I love all Steve windwoods synth solos. Favorite songs are Dancing, small hours, big muff, dealer. âCouldnât love you moreâreminds me of a Dave Matthews song.
Wow. I had never heard of John Martyn before this. I absolutely loved listening to this, front to back. Can hear the Jamaican influence and feel Steve Winwood's influence here. I've not heard much else quite like this, and it is so, so good.
I thought this was an outstanding piece of work. Really reminiscent, or more correctly influential, on music I've enjoyed in my life but first time I've consciously heard him. I can see from the write up that this isn't necessarily representative of his earlier work, but it's a fine piece of music.
super
John a surpris son monde en produisant de la trÚs bonne musique avant l'an 2000, chose que seuls Michael Jackson, Stevie Wonder et Cat Stevens ont réussi.
nice
great deviation from late 1970s sound here.. Whats up with the hate.. Sounds like good music thats what t sounds like guys... not like.. no no no.. guys..
Super excellent background music. Voices worked well with lyrics and music
Really funky Clapton sounds in the first song. Pink Floyd vibes in the second song This singer has a really nice raspy funky voice I like how you can have no idea what type of song is going to come next each song is so unique. Could be funk, rock, jazz, or trippy. They way that Small Hours is the ending just being super peaceful with some nice ambient wave music was the perfect way to cap off the album. This would an excellent drugs album This is exactly what I love about this album of the day thing. I had no idea who John Martyn was going into this but now I feel like I have to learn everything about him. Absolute 5/5
loved it
Surprising album, never heard of this. You can hear an influence on Nigel Godrich's production style, especially on Beck's "Sea Change"
Another album of John Martyn in this list and I thought I knew what I was going to get based on the other one, but nothing could be further from the truth. With a lot more experiment, range, more funk and more introverted songs on just one album, this is an incredible range of songs. I enjoyed this from start to finish.
Stick your head in the oven and crank it up to 300! We have finally hit the jackpot with this blockbuster of a record which makes me wetter than my auntie's honking, steaming pussy. The hills are alive with the sound of me wanking myself into an incestuous coma and you're all welcome to join me for the ride.
looooov
Genius. Small Hours is in my all time top ten tracks. The live version (I think I saw him perform it 6 times) of Big Muff was spellbinding, A very, very sad end to possibly the best British unsung hero of contemporary music (along with Roy Harper and Nick Drake).
In July 1978 I was working for the Migrant Services Section of the Social Security Department, in Clarence St Sydney. One morning I received a phone-call from a mate who was a student at Sydney University, telling me to get my arse up to the Union Theatre (now The Footbridge) on campus, because John Martyn was playing a free concert at 1.00pm. As it turns out, this was part of a world tour to promote the album One World. I got there in time. John Martyn was late, and extremely hung-over, carrying what appeared to be an acoustic guitar with a plethora of wires coming off it (and no doubt a bunch of effects pedals). It was one of the great concerts Iâve ever attended. At the time I was only familiar with the 1970 album Road To Ruin, which he recorded with his wife, Beverley, & which is an all-time favourite of mine, so most of what I saw him play that day was unfamiliar to me, but he was in blistering form. And I imagine a lot of what he played came from this album. How lucky I was, because this is a great record. I canât think of anything else that sounds like it. About 30 years later, a different mate gave me a dvd titled The Transatlantic Sessions, which features many great artists & includes an enthralling version of Big Muff with Martyn on guitar & Danny Thompson on double bass. Do yourself a favour & google it. This is the song he co-wrote in Jamaica with Lee Scratch Perry the year before he made the album. You also hear the great reggae trombonist Rico Rodriguez on Certain Surprise. I love the fact that Chris Blackwell set up mikes in the middle of a lake on his property(where the lp was recorded) to catch whatever noises nature was providing at the time. This was way ahead of its time. Love it.
I'm a big fan of John Martyn, particularly around this point in his career. Such a unique hybrid of influences that is miles ahead of its time. Martyn has such a natural, casual soulfulness to him that it makes his more experimental tendencies go down easy. Love that they recorded parts of the album from across a lake to capture the natural reverb/echo. Yet another example of artists creating their best work while in remote country locations.
Brilliant
TodavĂa no lo escucho pero con fe me gusta
Very good album, nice combination of rhythms.
I ended up listening to the Spotify suggestions for a long time after this ended
Pretty cool funky. Didnât like the slow songs as much. Nice active listening experience
Don't have much to say asides it just being a decent album. Solid 4 Stars.
His voice is a bit jarring at first but once you get into the album, his voice matters less and less
This was pretty interesting. Some of the poppier stuff just reminded me of Steely Dan, but not nearly as catchy. The real draw here is the more ambient tracks. Small Hours was a great way to close this one out. 3.5/5? 4/5? Let's go with 3.75/5. That feels good.
Surely must be an Inspiration to Talk Talk, Who should have more here.
Can something be called etheral funk? This sounds so out of time in the 70s. I would love to hear more of this.
This would probably get another star if the singers voice wasnât soâŠ. Yeah. The music is other wise pretty fantastic.
Surprisingly good, I've never even heard of the guy before but I quite enjoyed it
Really cool novel sound with mellow jazz inspiration and emotive vocals
This was great, wierd and wonderful. Will need to come back to this, but amazing that this was created in the 70s
I knew one song from the album already, I enjoyed the album as a whole
John Martyn made music that increasingly came and went like vapor, but whose scent lingered long enough to leave a mark on those who came upon it. One World, the hazy yet contemplative sojourn in sound conjured up in Jamaica, is one of those imprints. Martyn is untethered yet content, seeking salvation in the atmosphere both physical and spiritual, aided by those who were on the same wavelength as him. Yet another peak from someone who should be more widely regarded than he is. Favorites: Dealer, One World, Big Muff, Couldn't Love You More, Dancing.
Truly interesting record
Really enjoyed this. Funky. Bluesy. Fusion-y. Ambient. 4 stars.
Not as good as the other John Martyn album album we heard but still pretty cool. He really must have been a massive influence on Ray Lamontagne's vocal and musical styles. And I love Ray Lamontagne.
Oh boy. I've never heard of John Martyn but this album cover is something. Very 1977. So my jaw actually dropped when the vocals kicked in on the opening track, but luckily the weird growly rasping vocals aren't the style he uses throughout the whole album. The vocals on "One World", for instance, I found really lovely. The super dubby wet synths on "Smiling Stranger" are wild. Overall I preferred the back half of this album. "Certain Surprise" and "Dancing" were probably my favorite two tracks on the album. "Couldn't Love You More" is really sweet, and "Small Hours" is a really cool atmospheric meandering outro. This was a really interesting album. Very strange, and undeniably quite charming. Would definitely listen again. Playlist track: "Certain Surprise"
Really enjoyed this one itâs got a bluesy funky feel while not being overblown with it. This is a good time and I loved his voice
miten voi olla nÀin absoluuttisesti vittu pÀissÀÀn? vÀhÀn edes pliis pikkasen edes selventyÀ ennen kun astuu studioon PLIIIIIS! muuten mielestÀni mahtavaa mahtavaa musiikkia! BIG MUFF! kova mies mutta ei koskaan julma. tÀmÀ on steely dan mutta hyvÀ. kaksi kÀttÀ nyrkissÀ lÀhellÀ kehoa sykkii ylös alasin, suu kuin linnan rautaristikko nostettu ylös avoauki kammion syövereihin matkustaa vaikka hyönteisiÀ mutta ei hÀiritse.. BIG MUFF! ei mikÀÀn hÀiritse kyynÀrpÀÀt viety taakse kuin selkÀlihasliikkeessÀ mutta nyrkit vaan liikkuu ylös alas tahtiin tahtiin tahtiin! musiiikki vienyt, musiikki hurmannut, se on tyrmÀnnyt ja lumonnut ja haltioitunut mies on kateissa.. mies on edessÀni mutta eksynyt!!! ei löydÀ tietÀÀn kotiin hÀnet on noiduttu. one world
This album was so relaxing!! I completely chilled out with that last song, beautiful stuff 4 âïž
Glad I went back to this. Very underwhelmed first listen (while out, on earbuds). Tried again in the evening, on decent headphones, and it was like a different album. Ended up listening to it twice, and appreciating it more each time.
From the cover I was expecting some prog stuff. I was definitely not ready for what it actually is. What a thing of beauty.
This one surprised me. I really enjoyed it. He reminds me of a funkier version of Nick Drake. Looking forward to listening to more of his stuff.
Very good album, defiently surprised me. And especially last track was good
Spacious, with great vocals and some wonderful grooves