HUGHSCORE

"Miniluv" opens with relaxed guitar with bass and sparse percussion. Piano joins in and mellow is the word. A horn arrives as well as we get this classy sound that brings the ECM label to mind. "Against The Wheel" features fuzzed out bass and electric piano as Elaine starts singing. Kind of a poppy feel to this one except for the fuzz. Drums and bass only just before a minute then more fuzz. Vocals are back as contrasts continue.

"Baby Brother" is a catchy mid-paced tune as bass, keys and horns lead the way. Keys only after 2 1/2 minutes then a beat with guitar joins in. Kind of cool. Some fuzz after 4 minutes. "High Spot Paradox" has a beat with accordion and it turns avant sounding before a minute. Not very melodic here including the dissonant horn. "Otis Trout" opens with electric piano, drums and bass. Accordion finds them then a horn after a minute.

"Here They Come" has vocal melodies and accordion to start but soon drums kick in. It's polka time! Eieieio! Okay I'm back, sorry. It changes to a melancholic mood before 1 1/2 minutes as the accordion and vocals stop but the drums, bass and electric piano take over. More vocal melodies after 2 minutes, catchy stuff. Some flute too, maybe one of Hugh's samples?

"Lullaby" is my favourite. Keys to start as accordion and cymbals join in. Reserved vocals are spacey and dreamy then the accordion returns 2 minutes in, bass too. Vocals stop around 2 1/2 minutes. "Upgrade" has some energy with bass, keys and drums. Accordion before a minute, fuzz too. Dissonant horns around 1 1/2 minutes and experimental sounds follow. "Bald Eagle At Carnation" opens with accordion and bass and this continues as cymbals then drums join in. Horns 1 1/2 minutes in. Plenty of atmosphere here too with vocal melodies. I like it!

"Once Upon A Time" is catchy with accordion, percussion and bass as the vocals join in. A toe-tapper but not one I'm into. "4 1/2" is my second favourite track on here. Accordion once again with drums and bass but man this sounds good when the electric piano arrives. Dreamy vocals around 1 1/2 minutes then horns before 3 minutes as the vocals step aside. "Last Word Tango" is laid back with keys, bass and drums as reserved vocals join in. I like this one.

An excellent album overall but the I wish enjoyment factor for me was higher.

If the opening Was A Time features Elaine's soft vocals on a soft fusion, the ever-lasting Facelift gets another 'face-lift' (yeah, it's too easy ;o))) but Lanaute's flute and some fuzzed-out sounds give it an acid-jazzy flavour that can be reminiscent of St Germain. Extremely tasteful stuff if you ask me. Electronic diddles open November, but the acid-jazz beats return quickly, this time accompanied by Elaine's soft vocals and her Rhodes, along with Jarvis' trombone. The place goes wild (almost chaotic) and semi-dissonant weird hardliner vocals are the star of Ramifications, which brings you back to Hopper's more daring songwriting days. The following Robohop goes a little further, or at least a tad bit more nightmarish, delving further into the electronic soundscapes and creepy sound effects. We return with a much softer Remind Me, where Elton's soft sax and Elaine's accordion are floating above the surface. A short acid-jazz piece Spacelift (yup, Hugh can play too ;o))) prefaces the album-longest Based On, but it's the closing Tokitae that grabs our attention most, when it goes from demented to its ultra-calm ending.

A typical 90's contemporary acid-jazz album, Delta Flora was Hughscore's final chapter, and a very worthy one. Personally progheads should prefer investigating Hughscore's rather short catalogue rather than some higher-profile acid-jazz artiste to discover the mid to later-90's jazz soundscape in vogue at the time.

The Tim Kerr Records label which originally released the album, has long been associated with independent avante rock and fusion. However, the categorisation of fusion is misleading - several songs are quirky pop or post-rock, for goodness sake, (and have a look at some of those tune titles). This is Canterbury rock (that most English of progressive movements), strong tempered by American overtones. This point is clearly illustrated by Elaine DiFalco's take of Dedicated To You But You Weren't Listening, (the most covered Hugh Hopper and Soft Machine tune) - brought home, if you play Robert Wyatt's version from Soft Machine's Volume Two, back to back with it. There is a certain brittleness and economy about the tunes (as well as some brevity), for instance Splinter Cat told as a spoken short horror story with music, with amusing asides thrown in.

With the band compressing their name to Hughscore on subsequent albums, and with Hugh tending to record his part in Kent and the rest of the band 6000 or so miles away, then the tunes have become longer and more in keeping with the fusion terminology. However, for a very pleasant off the wall treat, start with this album.

And before our local system kicks in and suggests "if you like this band, you will like the albums of.....", I suggest checking out Hugh Hopper's and Robert Wyatt's solo albums and in particularly Amy Denio's recordings, as bassist and vocalist working separately with various members of Henry Cow.

The music contains influences from various genres such as Art Rock, Canterbury, Jazz, Progressive rock and RIO. A major part of the compositions is based on Hugh Hoppers magnificent bass playing. My favourite tracks are the opening "Was A Friend", "November", the inaccessible instrumental "Robohop", "Spacelift" and "Based On".

One of the best releases so far this year! A great and highly recommended album for the fastidious listeners!