DRONNE

The North Sea Radio Orchestra do their thing once more, and once more it works out very well. This is very pleasant and enjoyable progressive chamber folk, exactly what this band or rather miniature orchestra is known for. There are no drums, it's all too gentle for that. About half of the songs are instrumental, the other half mostly sung by Sharron Fortnam angelic clear folk voice often supported by her husband Craig (the line-up given above only attributes all vocals to Sharron, but that's not true). I had five-starred their previous offering "I a moon" but will not go quite as high for this one; basically the NSRO further fills the space that they have opened for themselves with further beautiful music. One can't accuse them of too much development, but then perhaps you don't want one of your favourite bands to develop if there is nobody else to fill the space if they leave it. Once more we have Craig Fortnam's obligatory solo guitar piece, the odd catchy folk tune, once more, perhaps a bit stronger than on previous albums, tasteful chamber pieces with strong almost classical arrangements. Actually, going more deeply into this album, one can also find some new elements, atmospheric minimal music in Dronne, and a nod to Robert Wyatt's "flowing" style in The British Road. The two parts of the instrumental Dinosaurus Rex at the end together make perhaps their most "proggy" composition yet, mainly because of the extended time and that they give their ideas here to develop, with some more turns than usual. So no, I can't say that the Radio Orchestra stands still, all is alive and well. Still, if their previous albums were for you, this one is, too, and if they were not, this won't be either. I guess one could shuffle all four of their albums and could think that this was all conceived together. A solid four stars.

It took 5 years for NORTH SEA RADIO ORCHESTRA to bring forth a follow up to their brilliant "I a Moon". They continue to explore a mix of sophisticated folk and highbrow Kraut influenced instrumentals. Here the scales are tipped more to the latter. In one track, "The British Road", they manage to combine the two rather elegantly. Of the acoustic oriented songs, "Alsace Lorraine" is the most charming. The title cut reminds me of the sort of music that would accompany guided meditations, with floating and mesmerizing synthesizers and little or none of the rhythms that accompanied prior exercises. "Dinosaurus Rex" closes the album in two parts, and, while it is all instrumental, it does blend the organic and electronic again, and offers some bewitching moments.

"Dronne" seems to lacks the trepidation of its predecessor in combining seemingly disparate influences, and the elation of succeeding beyond all expectations. I have the sense that the band has found its comfort level here, which makes for a pleasant but buzz free listen. Mildly recommended, but start with "I a Moon".