This is a limited pre-issue of a forthcoming album in 2005 by In Gowan Ring. It marks an evolution in the sound away from the overtly psychedelic and often almost medieval towards a simpler, highly effective, direct song based approach. In part this reflects the nature of its birth with B'eirth moving about and living off the coast of the US strumming his music on acoustic guitar out to sea. The music is still highly folk related but also incorporates subtle elements of country.

It begins with an exploratory instrumental moves into a lovely, understated song 'How The Hours' which is kept to just acoustic and vocals (occasionally double tracked). When it moves during the chorus through those great psychedelic sounding chords it sounds all the more effective this time for being simple.

'Five Hundred Keys' introduces plaintive harmonica and guitar and sounds like Donovan on 'There Is An Ocean', higher praise than that I can't think off. This is music that can as easily be performed on a porch as noted by P.G. Six with a new lullaby quality to the music. This sound is carried forward into the next song before the quite sublime 'Coffee Morning' which is the peak of the album. It's a perfectly realised, affecting song with a gentle vocal chorus and piano complementing the arrangement. It's a quite wonderful song and delivered beautifully, almost like a restrained gospel feeling.

Also on this album we here a more personal sound approaching Leonard Cohen in it's abstracted travelogues on songs like 'Train To Rome' and the stark directness of the songs. The searching, probing melody of 'Leaf Patches on Sidewalks' is amongst his best, reminding of the best Simon and Garfunkel such as 'Kathy' or 'Bookends'. It's unresolved circular figure drawing out the seeming unclosed memories being explored. This feeling of searching carries on into the Donovan styled 'Sleepless Search' with it's slightly ominous low notes on piano.

We end with 'Windows' which moves us back to a traditional folk sound with lute, layers of acoustic guitar, cello and a melody that sounds hundreds of years old. This manages to bring together the exploration of his earlier works in a more minimalistic way that points to the future for the artist.

It is appropriate that the best songs of B'eirth should be given the simplest arrangements in which to shine. It allows the exquisite quality of his song writing to be appreciated fully not hidden by layers of instrumentation. This album is not what many expect, it is not overly experimental, not droning or psychedelic but it simultaneously brings the older mystical folk of Donovan into the current and points a new individualistic way forward for the artist. It's a brave move and an album that is cohesive, beautiful and often highly moving.

Review by Mark Coyle - www.unbrokencircle.co.uk <Back