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The tournament logo was unveiled on 28 October by cosmonauts at the International Space Station and then projected onto Moscow's Bolshoi Theatre during an evening television programme.

Russian Sports Minister Vitaly Mutko said that the logo was inspired by "Russia's rich artistic tradition and its history of bold achievement and innovation", and FIFA President Sepp Blatter stated that it reflected the "heart and soul" of the country.

The official mascot for the tournament was unveiled 21 October , and selected through a design competition among university students.

A public vote was used to select from three finalists—a cat, a tiger, and a wolf. The first phase of ticket sales started on 14 September , The general visa policy of Russia did not apply to participants and spectators, who were able to visit Russia without a visa right before and during the competition regardless of their citizenship.

A Fan-ID was required to enter the country visa-free, while a ticket, Fan-ID and a valid passport were required to enter stadiums for matches. Fan-IDs also granted World Cup attendees free access to public transport services, including buses, and train service between host cities.

Fan-ID was administered by the Ministry of Digital Development, Communications and Mass Media , who could revoke these accreditations at any time to "ensure the defence capability or security of the state or public order".

The official match ball of the World Cup group stage was " Telstar 18 ", based on the name and design of the first Adidas World Cup ball from It was introduced on 9 November After the group stage, "Telstar Mechta" was used for the knockout stage.

The word mechta Russian: The difference between Telstar 18 and Mechta is the red details on the design. Its music video was released on 8 June Thirty-three footballers who are alleged to be part of the steroid program are listed in the McLaren Report.

The choice of Russia as host has been challenged. Controversial issues have included the level of racism in Russian football, [] [] [] and discrimination against LGBT people in wider Russian society.

Allegations of corruption in the bidding processes for the and World Cups caused threats from England's FA to boycott the tournament. Garcia , a US attorney, to investigate and produce a report on the corruption allegations.

Eckert's summary cleared Russia and Qatar of any wrongdoing, but was denounced by critics as a whitewash. On 3 June , the FBI confirmed that the federal authorities were investigating the bidding and awarding processes for the and World Cups.

In response to the March poisoning of Sergei and Yulia Skripal , British Prime Minister Theresa May announced that no British ministers or members of the royal family would attend the World Cup, and issued a warning to any travelling England fans.

The British Foreign Office and MPs had repeatedly warned English football fans and "people of Asian or Afro-Caribbean descent" travelling to Russia of "racist or homophobic intimidation, hooligan violence and anti-British hostility".

At the close of the World Cup Russia was widely praised for its success in hosting the tournament, with Steve Rosenberg of the BBC deeming it "a resounding public relations success" for Putin, adding, "The stunning new stadiums, free train travel to venues and the absence of crowd violence has impressed visiting supporters.

Russia has come across as friendly and hospitable: All the foreign fans I have spoken to are pleasantly surprised. FIFA President Gianni Infantino stated, "Everyone discovered a beautiful country, a welcoming country, that is keen to show the world that everything that has been said before might not be true.

A lot of preconceived ideas have been changed because people have seen the true nature of Russia. In February , Ukrainian rightsholder UA: PBC stated that it would not broadcast the World Cup.

This came in the wake of growing boycotts of the tournament among the Football Federation of Ukraine and sports minister Ihor Zhdanov. Broadcast rights to the tournament in the Middle East were hampered by an ongoing diplomatic crisis in Qatar over alleged support of extremist groups.

Qatar is the home country of the region's rightsholder, beIN Sports. On 2 June , beIN pulled its channels from Du and Etisalat , but with service to the latter restored later that day.

Etisalat subsequently announced that it would air the World Cup in the UAE, and continue to offer beIN normally and without interruptions.

On 12 July , FIFA stated that it "has engaged counsel to take legal action in Saudi Arabia and is working alongside other sports rights owners that have also been affected to protect its interests.

The elimination of the United States in qualifying led to concerns that US interest and viewership of this World Cup would be reduced especially among "casual" viewers interested in the US team , especially noting how much Fox paid for the rights, and that US games at the World Cup peaked at During a launch event prior to the elimination, Fox stated that it had planned to place a secondary focus on the Mexican team in its coverage to take advantage of their popularity among US viewers factoring Hispanic and Latino Americans.

Fox stated that it was still committed to broadcasting a significant amount of coverage for the tournament. From Wikipedia, the free encyclopedia.

For other competitions of that name, see World Cup disambiguation. For the video game, see FIFA Not a FIFA member.

Bronnitsy , Moscow Oblast Australia: Kazan , Republic of Tatarstan Belgium: Krasnogorsky , Moscow Oblast Brazil: Sochi , Krasnodar Krai Colombia: Verkhneuslonsky , Republic of Tatarstan Costa Rica: Roshchino , Leningrad Oblast [78] Denmark: Anapa , Krasnodar Krai Egypt: Grozny , Chechen Republic England: Repino , Saint Petersburg [79] France: Istra , Moscow Oblast Germany: Vatutinki , Moscow [80] Iceland: Gelendzhik , Krasnodar Krai Iran: Bakovka, Moscow Oblast Japan: Kazan, Republic of Tatarstan Mexico: Khimki , Moscow Oblast Morocco: Voronezh , Voronezh Oblast Nigeria: Yessentuki , Stavropol Krai Panama: Saransk , Republic of Mordovia Peru: Sochi, Krasnodar Krai Portugal: Ramenskoye , Moscow Oblast Russia: In common with the previous batch of Hammill digitally remastered reissues, the above four are state-of-the-art, and sound better than ever.

All sleeve art and lyrics are faithfully reproduced, and the reissues benefit from Peter's own commentary within the booklet notes.

Listening to these albums again in sequence I experience an embarrassment of riches, a torrent of ideas and feelings that's truly overwhelming. Peter's songs are singularly dramatic, turbulent, restless, angst-ridden utterances, yet they often possess much quiet beauty both musical and lyrical amidst all the torment.

The second and third and suitably lengthily-titled! Chameleon, though a typically introspective collection, is compared with some of his earlier VDGG work less concerned with wilful sci-fi obscurity and more with the deeply personal; if it were issued today, I suspect it would probably fall most readily into the indie category notably in respect of the occasionally brittle nature of the home-studio-produced sound and its primitive, much-of-its-time approach to stereo imaging , but that's not in any way to denigrate its many abundantly impressive qualities.

As Peter himself admits, he was "stumbling under the guidance of instinct as much as conscious innovation", although "many of the moves he made at this time were to prove pivotal in his later development".

Like all of Peter's work, it's music of startling, nay frightening originality. In matters such as his distinctly independent spirit and obstinate integrity especially I often hear a kinship with significant mavericks like Bowie and Harper, but the truth is that for the most part Peter's songs sound like absolutely nobody else's, even though there may be elements and echoes of modern-day chanson flooding through pieces like In The End and the sinister pastoral of What's It Worth.

And he was at first slow to distance himself completely from VDGG, as Easy To Slip Away with its throwback to the personae of Refugees and In The Black Room a song originally destined for the band's next, unrecorded - intended fifth - album, with its grandiose, episodic nature and band dynamics both show in their different ways.

Chameleon may be the first real fruit of Peter's potential solo career, but it's an astonishingly assured and coherent album. Even at a temporal remove of some 30 years, it's almost too much to take in at once: This remastered edition comes with three bonus tracks: The third bonus track Rain 3 AM is an unreleased curiosity from around the time of the album: Peter's pulsating electric guitar work on this track in particular betrays the influence of Spirit's Randy California, who made a one-off guest appearance on another of the album's key tracks, Red Shift.

Of the four bonus cuts, three are versions of album tracks which come from a roughly contemporaneous Peel session with David Jackson in tow , the last The Lie being another delightfully over-the-top selection from the abovementioned Kansas City concert.

In Camera was the first Hammill solo album on which everything aside from percussion on just three tracks was played by Peter himself. It continues the startling advances made on The Silent Corner, notably in terms of wild experimentation, while the sheer scope of its material bravely presents the listener with at times uncomfortable challenges in the form of extreme contrasts, from the relatively orthodox reflective confessional of Again to the rockist angst of Tapeworm, the intriguing guitar-quartet setting of The Comet, The Course, The Tail to the ultra-synth texturings of Faint Heart And The Sermon, and the strange but logical pairing of the harmonium-rich Gog misprinted as Go on the back cover - oops!

Three bonus tracks, taken from a Peel session recorded shortly after the album's release, are sparse voice-and-piano readings of two of the album's songs plus a real rarity: Though released in February , barely six months after In Camera, Nadir's Big Chance saw the Chameleon mutate dramatically into Rikki Nadir, a kind of proto-punk alter-ego!

The album comprised a set of by Hammill standards pithy quasi-pop-songs though in practice few of them weigh in at under four minutes!

Not unnaturally, it was received with some puzzlement and a degree of antipathy, but in retrospect, although it's not necessarily Peter's finest forty-seven minutes, I really rather like it for what it is - and it sounds great in this remaster, even though it yields no bonus tracks.

The digital remasterings of these four albums have been carried out by Peter himself, and he's opened out the original slightly thin sound with far better presence, notably in certain of the bass frequencies, and the bonus tracks are well worth having; these sensibly-coordinated reissues, which are graced with additional new notes by Peter too, are state-of-the-art.

A few months after Nadir, VDGG ended its four-year set-aside, and the Godbluff lineup was to take up most of Peter's time for a year or so; a convenient point at which to break my survey of Hammill remasters - the next batch will appear shortly.

This has actually been a really difficult record to review, basically since it's nigh impossible to capture the incredibly individual essence of Brighton-based Mary's wildly original and very very special talent as a singer and songwriter.

It's also one of those "less is more" jobs that makes much out of exceedingly minimal resources. And it's a seriously scary experience from beginning to end - at times it's almost too disturbing to listen to at all except in the comfort of your own mind.

But the first thing you'll hear, after the bald tenor guitar intro that is, will be Mary's totally extraordinary voice, which will bring your ears stark upright, for it takes the art of singing into an unearthly place indeed you'll either love it or hate it with a passion, I suspect - and I love it!

It's a voice of paradoxes: Mary's writing - and indeed her whole sound-world - is peculiarly haunting. Imagery is spellbindingly strange, both significantly eldritch and properly poetic, sometimes ostensibly impenetrable but always keeping a firm handle on the boundaries of perception.

Melodies sound primordial, ancient, modal, yet with adventurous turns of the screw. The feel of the music, and some of the instrumentation Mary has at her command, is imaginative and often distinctly ISB for instance, there's a gorgeous swooning cello line on Honey that just cries out to be played on bowed gimbri!

A small complement of extra musicians including Alice Eldridge, Jo Burke, Alistair Strachan, Grant Allerdyce and co-engineer Joe Watson supplement Mary's guitar, being used eminently selectively and to brilliant effect.

Perhaps the most striking marriage of words and music comes on The Bell They Gave You, but every song here has much to offer in terms of aural and verbal stimulation and even the interpolated samples on Free Grace and the cryptic Exeunt don't grate or disrupt the album's curiously logical flow.

Features that might in lesser hands become just a gimmick here prove essential to the impact of the songs - for example, the hidden track Encore For Florence a weirdly touching tribute to celebrated "tuneless, tone-deaf soprano" Florence Foster Jenkins sets a parlour piano amidst the faux-crackle of an ancient 78 in the manner of a fusty attic discovery.

And maybe the strangest and most immediately memorable among the host of strange songs, is the acappella Ballad Of The Talking Dog, which takes the time-honoured "bunch of green holly and ivy" refrain from the domain of classic folk balladry and twists it around multiple vocal chords to the creepy accompaniment of hand and mouth percussion, with spectral whistling, discords and spoken counterpoints - it sounds like the Addams family singing a Child Ballad at their fireside on a bleak winter's evening!

Like the whole album in fact, this track is at once soothing and discomforting. All in all, an extraordinary record: Wayne The Train Hancock is one of those guys who believes in doing things the old fashioned way.

Well, at least when it comes to recording. Extended sessions in the studio are not for these boys. A Town Blues was recorded in 20 hours and mixed in two days.

Bloodshot Records, their new label, might even be accused of providing them the luxury of extra hours. Well, at least a couple of them. The reason that he's able to do this is that the band is a hard working outfit travelling the road performing more than most.

The net result is that all their albums have a spontaneous feel well, they would, wouldnt they and a bunch of songs that have matured with performance on the road.

A recipe that has worked fine for all of their albums. At the production controls, this time, is Lloyd Maines who is favoured by many of our country music friends in the US.

Rightfully acknowledged on this album as The Professor for all his sterling work in this area. He closes out the album accompanying Wayne to get the regulatory forty minutes of CD time on Railroad Blues.

A track that's as live as you'll get. So, if you havent gathered already, the music of Wayne Hancock is country - the honky tonk way. All styles are here.

The up tempo songs swing along with a highlight in Miller, Jack And Mad Dog warning of the dangerous effect of the demon drink and driving combination.

There are lonesome ballads such as Happy Birthday Julie which has the singer passing on congratulations to the girlfriend who left him and got killed in a car crash.

Mr Hancocks pen accounts for ten of the tracks with the others including Cow Cow Boogie which was made famous by Ella Mae Morse who was popular in the s and 50s.

This gives you a good clue as to where this band are positioned. Yes, its traditional honky tonk in all its flavours with great songs done just like a live show.

The odds have to be that Hand - whom Willie Nelson describes as the 'real deal' - will remain as unfazed and unaffected as his music by the acclaim that will surely follow The Truth Will Set You Free.

While the revolutions of Americana, 'big hat' country and 'nu country' have swirled around him, James Hand has steadfastly remained true to the heart and soul of old country, the kind that served Hank Williams, Lefty Frizzell and Ernest Tubb so well.

While a 'career' musician, one who has done nothing else in his life, may have to search long and hard for the truth of his songs, Hand has to look no further than his own life.

He has also drawn deeply on a lifetime's experiences at the 'unknown' end of the musical spectrum, James Hand isn't showbusiness, to echo Nelson's wise words, he's the 'real deal'.

This collection of a dozen originals gives a small overview of Hand's work, his country music encompasses the whole range, beginning with the wonderfully light and sunny swing of Banks Of The Brazos and ending with When You Stopped Loving Me, So Did I, not only a classic country title but a song that could be as old as country music itself.

Without Hands's tender touch it could easily have been swamped by corn, however three chords and the truth never hit home quite so sharply.

There's almost a novelty factor in listening to an artist play pure, undiluted country music, no whistles no bells, just plain old, from the heart country.

James Hand may have taken 40 years to get intot he studio but I'll bet it doesn't take another 40 for him to be back.

Drifting away to Brett Spark's dark baritone on the opening cello waltzing Linger, Let Me Linger I was transported back to the days of the old school doo wop crooners like the Ink Spots, melting in the warmth of the unbridled romanticism captured in lines like "I am the puddles in the street waiting for your falling leaves".

Recorded for their 20th wedding anniversary, it's an album of admittedly often skewed love songs, steeped in spirituality and the rich loam of nature with metaphors and images of spiders, birds, trees and foliage.

Indeed, the pedal steel keening Little Sparrows talks of schools of shining fish, swarms of buzzing bees, geese and ants with love painted as Jonah on the raging seas embracing the whale that comes to swallow him while the twangy, Johnny Cash evoking Wild Wood has them conjuring a stone age love nest of stick and bones as he declares he will "bark like a dog in your arms.

Invested with their longtime Louvin, Stanley and Everly influences, songs like When You Whispered carried in the traditional arms of banjo and pedal steel with bluegrass waltzes and mountain music slow dances, it's a marvellous testament to the couple's devotion to both each other and their musical roots.

Nothing here falls short of wonder, but particularly deserving of mention has to be A Thousand Diamond Rings with its surf guitar noir mood, the Spanish classical guitar and gothic melancholy of The Winding Corn Maze more swarming bees, here and the 40s ragtime lounge whistling shuffle of The Loneliness of Magnets, an inspired image of separated lovers.

Here's to their 25th. Over the years they've been musical partners Brett and Rennie Sparks have built a reputation as one of the world's finest purveyors of melancholy Americana, their music conjuring images of dust hung desert nights and Appalachian mountains silhouetted against the evening sky as they sit round the camp fire singing songs of loss, death and damnation.

So, a surprise then to find the new album a relatively more upbeat affair, noting a world waltzing towards self-destruction but celebrating the small and infinite moments of beauty and wonder that nature provides to soothe the soul's fears.

Using such instruments as mellotron and wine glasses and drawing on the sepia tinted worlds of hillbilly, tin pan alley ballads, cowboy country, western slow waltzers and, on Beautiful William, even medieval tunes, Brett crafts the careworn honky tonk melodies upon which songs like Somewhere Else To Be, Bowling Alley Blues very George Jones and Your Great Journey are built.

Meanwhile, Rennie takes lyrical inspiration from the life of Nicola Tesla, the electrical engineer and scientist who invented alternating current transmitters but whose ambivalence to the world let him to become a recluse in his hotel room, unable to bear the touch of human skin.

However, as she notes in the waltzing Tesla's Hotel Room from where comes the album's title, one day he opened the window and befriended pigeons, finding his way back out of the darkness.

It's that contact with the universal her songs explore. Unfolding in airport lounges the throaty Neil Young-like All The Time In Airports , bowling alleys Bowling Alley Bar and graveyards White Lights , she tells stories of hunters shooting prey that transforms into their true love Hunter Green , of shoes hung over telephone wires These Golden Jewels and post apocalypse life After We Shot The Grizzly , striking emotional chords from such images as a black glove on the cliffs, broken cheap sunglasses, and 'a small bag of onion rings'.

Existential, metaphysical, whatever, the Sparks dig beneath the dry clay and turn dulled stones into diamonds. A thing of wonder indeed. The Handsome Family - Singing Bones Loose Now suitably based in Albuquerque, Mexico, baritone Brett Sparks and his ethereal voiced lyricist wife Rennie follow up 's breakthrough death ballads collection Twilight with yet another collection of poisoned dark country melancholia that reinforces their reputation as the Johnny Cash and June Carter of contemporary Americana..

If you've not encountered them before, then try and imagine a rocky mesa at dusk, cacti and stark jutting Appalachian mountains silhouetted against the evening sky, the sound of rattlesnakes occasionally breaking the silence, dust gathering in your throat, an empty whisky bottle in your hand and the death angel sitting round a camp fire with an acoustic guitar singing of the souls that have passed this way en route to damnation.

This time round they've fleshed out the sound somewhat, pushing the boat out by adding musical saw and pedal steel to the basic mix of guitars, keyboards and drums mandolin and such regular embelishments as auto harp, bango and violin.

But the landscape remains mich the same with its dark valleys, black hills, and creeping shadows a perfect backdrop to songs that explore the "veil between this world and the next" on numbers such as the whippoorwilling waltz Hour Store where the sleepless and the lost push their trollies as the crying ghosts of dead shoppers flit in and out the aisles, the cowboy dying in the desert on the clacking chugger The Song of a Hundred Toads or the farmer lowering himself down The Bottomless Hole behind the barn where dead cows, garbage and tractors seem to fall forever.

Texas Gothic at its finest, there's no better wallow in gallows humour and death balladry to be had this side of Nick Cave.

This duo's fourth album In The Air was one of the listening highlights of for me, and this new one coincides handsomely with a UK tour.

Husband and wife team Brett and Rennie Sparks make very strange music that's at once comforting and unsettling, smooth and caustic; it's both seriously weird and weirdly serious.

Kinda like an unpardonably sweet, easy-on-the-ear gothic country, but lots more addictive than that tag might imply - try to imagine Johnny Cash singing Beefheart lyrics!

Brett's is the golden voice, and he also plays almost everything in sight, while Rennie seems to content to pen those peculiarly poetic lyrics while contributing occasional vocals and autoharp.

The songs contain some exquisite imagery, which often appears inconsequential but is actually finely crafted, while musical settings are by turns mournful There Is A Sound , sinisterly jaunty All The TVs In Town and creepy Gravity , often running counter to what you'd expect from a cursory reading of the texts.

With typical oddball directness, the insert helpfully explains that "this CD was recorded at home on our Macintosh G You must experience the uniqueness of the Sparks Family's vision at least once in your life!

Formerly leader of 80s Newcastle upon Tyne underachievers Hurrah! Little short of a modern day hymn with a soaring arms-linked swaying chorus that builds to a jubilant, uplifting finale as he sings 'let now every heart rejoice', it's hard not to find the words Rufus, Wainright, Buckley and Jeff rising unbidden to the lips.

The same is true throughout the album where you might also see parallels with Martin Stephenson with whom he's collaborated on a Grant McLennan tribute , but which unfolds to reveal him as very much his own man.

Indeed, that hymnal quality is also forcefully to be heard on the no less outstanding Midwinter's Feast with its hallelujah chorus, lines about church bells and wheezing harmonium and the closing piano backed, emotion quivering Peace In Our Time as he sings "God bless our bombs and the guns we are firing, caught in the crossfire of lies we told.

Dealing in themes of love, loss uncertainty and disillusion, the album's musical textures are simple but rich. The opening piano ballad Beautiful Thing hints at Brel and Buckley equally you could also imagine hearing it on an early Scott Walker album , Darkest Night is brooding, muscular bluesy soul flecked folk, River Of Song harks to Irish trad folk swayalong while acoustic Americana warms the heart of The Slow Road and the yearningly gorgeous Whisper In Your Mind with its pedal steel and Paul Heaton colours.

There's not a weak moment here but it would be remiss not to also make special mention of Let The Lights Go Down, a spare, romantically bruised acoustic song of pleading and resignation that features shared vocals with Maria Yuriko and curls around the ears like aural aromatherapy.

Hopefully it won't mirror Hurrah! Let now every heart rejoice, indeed. This at first seems a confusing record. It's labelled as "Chinese folk revival", and, whilst it certainly emanates from Beijing, its inspiration derives comes more from Mongolian folk music.

Hanggai the name describes an idealised grassland landscape of mountains, trees, rivers and blue skies is a group of young musicians, mostly from Inner Mongolia.

Its frontman is Ilchi, a former member of a punk band who, having discovered traditional overtone singing khöömei , is now on a mission to rediscover and perform a repertoire of ancient songs that have almost disappeared during China's recent turbulent past.

Aiding Ilchi and his tobshuur two-stringed lute in his endeavours are horsehair-fiddle morin khuur player Hugejiltu and deep bass singer Bagen music students steeped in the traditional music , with Xu Jinhchen sanxian , Hexigtuu sihu , further assisted by producers Robin Haller and Matteo Scumaci who add electric and bass guitar, banjo and programming.

The latter hints at the nature of Hanggai's treatments of the traditional material, with authentically spare basic textures augmented by percussion, occasional western influences and natural and street sounds from the surroundings Beijing.

It's little wonder that Hanggai have attracted a cult following in China amongst those seeking an antidote to Chinese boy bands!

Some tracks sound true-traditional Wuji is just voice chanting against a wailing fiddle line , whereas My Banjo And I great title! Some western-style twang guitar embellishes Five Heroes, while Flowers builds on a hypnotic, driving lute rhythm; the rather gentler melody of Haar Hu could almost be a Mongolian version of Scarborough Fair, and - most fun of all - there's even a raucous, madly accelerating Drinking Song.

Maybe it shouldn't work, you say, but it does - and I get the strong feeling that this is but the start, and that there's plenty more territory yet to be explored in this creative and genuinely exciting reinterpretation of traditional Mongolian music.

What if music had smells? If CDs were impregnated with an aroma that embodied the essence of the sounds. Motorhead would be leather, axle grease and sweat, Lucinda Williams would be the smell of tarmac intermingling with fresh cornfields, Radiohead would be antiseptic and anything from the Pop Idols stable would, of course, be a ripe processed cheese.

If that were the case then playing the Dogs would fill the room with the scent of leafy English country lanes, the grass glistening with dew, raindrops from a summer shower dripping from leaves on the trees, a clean freshness in the air.

Comprising Andy Allen, formerly a jobbing member of the Pistols and Professionals, his ex-lover Joanna 'Piano' Pace, and his but not her daughter Lily Ramona, it's been four years since the South London trio emerged with their Joe Boyd overseen debut, Bareback, on his Hannibal label.

Reviews glowed for their fusion of English folk rock, celtic country and the sort of midwest American gothic embodied by Matthews Southern Comfort, underpinning lyrics of a generally downbeat mood.

However a cancelled Rankins tour on which they'd been booked as support followed by label problems, took the edge off what should have been fast lane progress up the folk roots ladder.

Now they're back via a different licensing deal, still with Boyd keeping a watchful eye, and while there's times when the mix has a few too many rough edges, if the wheels turn smoothly there's no reason why this shouldn't elevate them to the hallowed ranks of artists such as the Indigo Girls, Dear Janes, the McGarrigles, Poozies, Michelle Shocked, and the early incarnation of Suzanne Vega.

Evoking worthy comparisons to the likes of McTell, Thompson and Martin Taylor, Allen's nimble fretwork dances all over the album, cascading arpeggios, tumbling lullabies, meditative strums, bluegrass banjo, steel strings twanging and resonating under his fingertips.

Here and there the acoustic guitars are coloured with mournful woodwind, hand percussion, cello, dulcimer, and double bass but mostly they're left to weave their own spells, the women's voices - sometimes in harmony, more often with Piano's dust and creekwater wearied whispering tones taking lead - providing the real complementary textures.

Her songs haven't exactly found the sunnier paths of life, but as the album title, Whole Way where they express the optimistic hope to ' sell a lot of records ' and even death song Little Door " I wouldn't say the world has opened up, just a little door but it's enough " hint there's at least rays of light coming through and any darker concerns are well shaded behind the generally sprightly tunes.

Spanning English trad folk flavours and appalachian mountain music Let Alone Me , it's hard to pin down prize tracks from the 12 contained here, but pushed to name favourites then the repeat play button hits on the haunting Half Smile with the two women weaving witchy, dank forest harmonies as a flute threads its way between the spaces, the resigned Women Who Love Too Much as Fred Neil meets Sandy Denny , Singers shades of Leonard Cohen and early Judy Collins and Hollywood , a dreamy tale of empty success, self-deceptions and those left behind in the road to fame on which Allen takes lead vocals, his timbre and phrasing sounding not unlike Billy Bragg.

It's a beguiling, intoxicating album, inhale and breath in deep. If you can't aurally picture that, then just think Ottawa's Lucinda Williams with a pinch of Gillian Welch and you'll have a good idea of what lies inside the CD case.

Songs about busted relationships, broken dreams, temptations, growing older and the slippery search for redemption, delivered in world weary dusty tones, it's a fine collection of roots country tinged here and there with bluegrass banjo courtesy of guitarist producer David Baxter and, on opening track When Lovers Leave and the waltzing backwoods folk Three Times Bent, from Toronto's Justin Rutledge.

She gets bluesy on Rest Of My Days, lover's revenge murder ballad Mary Mary and the swampy Southern groove of Riptide and ups the tempo for the slide and banjo picking of No More Rain, but to these ears it's the gentler, wistful bruised heart ballads that are the strongest.

The undulating Here We Go Again distils the uncertainty of entering into a new romance while still picking up the pieces of the last, Just For The Ride brings a jangle and twang to a yearning for the innocence of young love unaware of the hurt ahead while the album's final three numbers, the London set Somewhere A Lovely Flower, Off This Train and, conjuring memories of Kathy Mattea, Lilacs Dancing move from the search for self and happiness to a memory of being found.

It's not a groundbreaker, but her laid-back acceptance and honest delivery will make heartbreak's twilight hours easier to bear.

Seems a fair way of describing the Ottowa native's album of Americana and a soulfully warm voice that's drawn comparisons with Mary Chapin Carpenter and Gillian Welch.

With instrumentation built around acoustic guitar, dobro fine picking by Chris Barkely , pedal steel, upright bass and stripped down percussion, Hanson fluidly moves her musical moods between twangy roots country Eleven Months , rustic American folk Dance In The Evermore , bluegrass Cold Touch and country blues Willow Tree' revisiting of murder ballad Pretty Polly , all sounding equally assured whether she's standing tough or hiding vulnerability.

Love, life, mortality, religion and, on Tears In Your Rain, environmental concerns provide the subject matter and, if she's not rewriting any thematic concerns, she does find the human heart in the stories she tells.

And if there's no single career making standout, the lovely sadness of Seeking Juliet and More Of The Same and a gravel gritty Nazareth Bound will certainly ensure her name gets mentioned in the right places.

Out of Ottawa sporting comparisons to Gillian Welch and Mary Chapin Carpenter, Hanson recently picked up a Canadian Blues award for River By My Side which she didn't actually write but while the blues also puts in appearance on the commitment-fearing Little Stage Fright it's her Americana and Texas soul-country moods that really flavour this debut album.

Recorded with unfussy production and unshowy playing that gives it a live feel, her songs are a mix of well observed snapshots and seemingly more personal reflections on relationships that have slipped or are slipping away, ranging from the aching Different Story where a couple meet at a barroom to sign the divorce papers and the lost dreams detailed with a finely observant eye on the twangy title track to the regrets of the backwoods country-folk Fell Down A Wishing Well one of several featuring Lynn Miles on backing vocals and the comfort and healing to the lilting, pedal steel laced Just A Day Away.

Fine though it is, I'm not convinced that the album really needs her cover of the traditional gospel folk tune Wayfaring Stranger, a song that may have a thematic connection of sorts but feels as though it's strayed in from a live set list.

That said, the fact that a song that's weathered the years as well as it has can be overshadowed by Hanson's own material, says as much for her songwriting credentials as the album does for her singing.

Even so, as a talented Gothenburg-born multi-instrumentalist and prog-rock genius, Bo is certainly best remembered today for his first solo release, Music Inspired By Lord Of The Rings , which the Famous Charisma Label took high into the album charts back in That album was reissued last year by Virgin, and now it's the turn of the three remaining solo albums which originally appeared on Charisma in the UK to appear in digitally remastered new editions.

Watership Down' s bonus track is an eleven-minute live-in-the-studio Migration Suite. Sadly, and unusually for such reissues, the booklet notes don't give us any information regarding the sources of the bonus material.

The downside of this is that some of Bo's musical ideas and themes don't quite achieve the memorability quotient that they need to stand out in a competitive prog marketplace, and whilst one can admire his versatility and creativity some of the later music, particularly on Watership Down , has a tendency to ramble and in the end leaves me a touch cold.

The Watership Down album continued to explore the wave of inspiration that had begun with Attic Thoughts' Rabbit Music, and Bo utilised his musical collaborators to good effect, but in truth it was a more uneven effort musically, and by the time of its release distinctly unfashionable.

But these reissues at least give us the chance to reassess Bo's place in prog history, and I find that I can certainly appreciate them a lot more now than I did at the time of their original release.

From Cork and now based in Glasgow, Hara's very much in the tradition of the classic acoustic singer-songwriter, a deft string picker, a voice with a slight emotional crack and songs that slide down easy but also hang around to get you pondering their relationships themed lyrics.

It's not about to make him the next darling of the modern folkie set, but numbers like the circling melody of Bribe, the fresh open fields air to Nothing New, What Will Lie In Wait where he actually conjures thoughts of Ian Matthews and the clear stream waterfall colours sparkling across Blue Heart of Mine and The Light will always ensure a welcome on the folk club and pub circuit.

Coming together as a three piece house band for a regular event at St Pauls Church in Derby and gradually evolving into their current sextet format, they've largely spent their career to date on the Christian music circuit, releasing debut album Leaving Safe Anchorage last year.

However, given the exposure, their sophomore should easily see them expanding their audience into the contemporary folk-rock mainstream. Fronted by the striking, dust and silk vocals of Bethan Court, obvious comparisons would have to include Fleetwood Mac, Kate Rusby, and Sandy Denny but you might also hear hints of Judy Collins and Eva Cassidy in there too.

Listening to her on the gently rippling autumnal Another Rainbow or the world weary Sweet Hand of Mercy is a bit like bathing in aural Radox, the soothing sound of late summer evenings and fireflies.

The band's other prime strength lies in the songs of Phil Baggaley, sometimes quietly melancholic at others shimmering with a sense of joy and determination; wistfully veined with themes of loss and stalled emotions on Watching It Slip Away, Mayday and the wonderful waltzing title track or celebrating the redemptive nature of love on the tumbling folk pop of Five Senses and the simple wonder of the universe in Stargazing.

There's times when he calls to mind Julie Gold. Having said that, two numbers hark to traditional English folk ballad. The Storm Gate is tale of a Whitby boy sailing with Captain Cook while his intended waits at home, verses sung by both the lovers and the lad's sister.

And, arguably the album's standout track, Gunmetal Grey is a brooding warning not to harden your heart that, with its steady drum beat, electric guitar and the edge Court brings to her singing, would add lustre to a Steeleye Span album.

These two highly regarded young musicians originally met as teenagers, but only last summer, while teaching at the Folkworks Summer School, did they consider doing some actual duo work together.

And by all accounts, so naturally did the two gel that after just a couple of days of playing this CD emerged!

Meantime, Rob's continued his involvement with the English Acoustic Collective and Emma's been teaching and performing both in the UK and her motherland Sweden.

This disc turns out to be an intensely uplifting experience that fully conveys the joys of informal music-making. The majority of its ten tracks are duets for English concertina and fiddle: The CD also showcases two descriptive pieces by the musicians themselves: All told, this is a genuinely exciting disc which it'll prove hard to grow tired of, for with each twist and turn of melody Rob finds felicitous subtleties in his chosen instrument and Emma's joyous, earthy phrasing springs new surprises.

Rob's also responsible for the superbly immediate and close recording. To vary things a bit, Ghost Writer turns in four minutes worth of discordant, clanking beatnik jazz Tom Waits with a sprinkle of Bowie, but opening proceedings with the gentle summery sway of Bittersweetheart for the most part he again favours the dreamier side of melody in which to couch his songs of love and loss, of death and, well, life really.

Mercifully for the Samaritans then, the lad does manage to curl a couple of more positive moments round his fingers, Watching The Sun Come Up is a buoyant post break up song but still sees Ed ready to "attack the day with the will to burn" and on the gorgeous lullaby Metaphorically Yours with its crooning ooohing backing vocals, he sings "if my wrists were slit you'd bandage them with style and grace", adding "I confess I love you so.

This is an unusually distinctive album by a British band based in Berkshire that is unafraid to take chances and diversify within the broad compass of Americana.

Sure, it's got its own oddball tendencies, but for most of its length it's a reliable and intriguingly different album on which influences are less worn on the sleeve than sewn away neatly in the cuff.

It would be considered an interesting album purely because every track's different, but the consistent quality of the songwriting transcends any novelty-value and the occasional quirk of presentation.

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