OMNIA OPERA Nothing Is Ordinary Umbilical CD The title of this long-awaited fifth album from these erstwhile Kidderminster crusties is no idle boast: it’s a
sprawling double CD that straddles a multiverse of space-rock, prog, metal riffage, acid-punk, ambient and even a lick of jazz.
Omnia Opera may have matured over
the years – at times they sound uncannily like Peter Gabriel-era Genesis, or Pink Floyd circa Meddle – but they’ve also improved with age. Overall, the most obvious influence is still Hawkwind, but Gong and Here & Now both figure highly in the mix too, especially on ‘Liquid Underground’. The more ambient numbers are pleasing enough, but it’s the epic space rockers like ‘Supernova’ and ‘The Malgi’, and the thrashier cataclysmic numbers such as ‘Big Brother’ that really leave their mark. Nothing Is Ordinary is a worthy successor to 1997’s Red Shift and should firmly cement their position as one of the UK’s leading exponents of space- rock in the 21st century. Rich Deakin
EDDIE PHILLIPS Woodstock Daze Sky-Rocket LP/CD Released to
coincide with the true modfather’s 70th birthday, the debut solo album from The Creation guitarist who
inspired groups (Biff Bang Pow), labels (Creation), and guitarists (Page’s violin bow antics) runs the gamut from the orchestral, baggy-trousered title track (more Stone Roses than Creation) to chugging blues (the Robert Johnson tribute, ‘Waiting At The Crossroads’) and anthemic stompers (‘Dreamers Of Dreams’ and the ‘Blue Jay Way’-inspired ‘If I Ever Stop Moving’). His reworking of ‘Biff Bang Pow’ still packs a punch – this septuagenarian can rattle off some amazing solos – and he also revisits Mark Four classics ‘I’m Leaving’ (a barnstorming pub rocker with swampy guitar strains throughout) and the bluesy ‘Work All Day’. The Dylanesque ‘Mr X’ (for late Creation
vocalist Kenny Pickett) is a tad meandering, but the autobiographical powerpop of ‘Good Times’ and the hellbound train punch of ‘PsychArelic’ save the album from maudlin nostalgia. Jeff Penczak
Not the same Primitives you thought you’d see in Shindig!
PUGWASH The Olympus Sound Lojinx CD There’s more than a whiff of ELO and XTC about The Olympus Sound, the fifth album (excluding comps Earworm
and Giddy) by Irish pop wizards Pugwash. Hardly surprising considering front man and songwriter Thomas Walsh is a fan of both. Like previous albums, The Olympus Sound is packed with exquisitely crafted melodic, contemplative, pop songs, all perfectly arranged and performed by a band at the top of its game. Walsh has a knack of writing songs that stick in your mind like toffee sticks to your fillings. There’s a warmth to his writing and to the band’s playing that wraps you in a comfy summer afterglow.
Pugwash aren’t big on progressing their colourful sound. Their philosophy appears to be if it ain’t broke, don’t fix it. There’s nothing wrong with that because it’s a sound that will have you returning for another fix of fine guitar- pop, just like Bacchus bouncing back to the bottle for another swig of his favourite wine. John Blaney
THE PRIMITIVES Echoes and Rhymes Elefant LP/CD Nearly 25 years after their landmark debut, Lovely – one of the ’80s’ definitive powerpop albums, Coventry’s finest return with a
“concept covers album” of obscure ’60s female artists (mostly B-sides), from Shocking Blue and She Trinity to Sandy Posey, Sue (Lolita) Lyon, and Olivia Newton-John (courtesy of Jackie DeShannon). Tracey’s voice is as precious as ever and the lads successfully swing from sweaty soul (‘Move It On Over’) to booty-shakin’ pop (‘Panic’), girl group giggles (‘Turn Off The Moon’), and Spectoresque bubblegum (‘Till You Say You’ll Be Mine’). Lead single ‘The Witch’ is a fuzz- infected stomper, and there’s also some northern soul (‘I Surrender’), ye-ye (‘Amoureux D’une Affiche’), and cuddly schoolgirl pop (‘Single Girl’). Overall, it’s an incredible stroll through ’60s international pop and a welcome return to the spotlight. Now, how about that Tuesday Weld B-
side? Jeff Penczak
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