Army Of Briars
Made From A Broken Star
Discus 135CD
Available formats: CD/DL


“Made From A Broken Star is a most beguiling artistic statement that’s nigh irresistible both in its proud natural strangeness and in its uniquely original and powerful musical and lyrical expression. Diversity of expression, aural stimulation and honest experimentation go hand in hand with allowable and welcome creative eccentricity, while the level of musicianship ensures that the end product, while lovingly and painstakingly crafted, is shot through with integrity and a real sense of purpose. This is enhanced by the enclosed lyrics-booklet, which is adorned with a host of wonderful illustrations by Julie herself. The overall package is an example of old-fashioned presentation art and craft at its very best. This is one of those fabulous (if at times demanding) albums that comes along only once in a very long while. Keep an open mind, and you’ll discover this is a CD to be grabbed, explored at length and cherished – you’ll not hear its like anywhere, I’ll venture.” – David Kidman, FOLK RADIO

“A lovely, uplifting collection of songs. Recommended.” – Jack Porcello, File Under Popular. WAYO 104.3FM


Progressive songwriting in the finest tradition. All of us will have been present when a live band suddenly fuses into a miraculous torrent. The great thing about Army of Briars is that they seem to be able to create that sense of live miracle while working separately in different locations, and sending their contributions to be mixed together at Discus Music Studio. This covid-enforced approach to their new release, Made From A Broken Star, has resulted in music that feels live, and a band that feels united. This is hugely down to the voices of Tim & Julie Cole, vulnerable, honest, warm, pure, and the series of beautiful and strange melodies that the group has created for them, making a cycle of ballads and spells. The material ranges from stark, ghostly chant across to gentle folk confessional, via one or two Ivor Cutler moments and some passionate jazz, and together amounts to a single story of magic, witness, praise and flight. This is the tale of a shaman exiled in the harsh present, seeking a way back to the green world. And finding it. Keith Jafrate’s imagistic nature poems take the listener through multiple worlds, past, present, interior and exterior, all focused on a kind of radiant connectedness. The music inhabits them like wind in a great tree, sounding out their intricate forms. Despite the range of styles, the songs have a strong narrative cohesion, and the album is a cathartic journey through, and into, the landscape.

Julie Cole – voice
Tim Cole – voice, guitars, cello on 3
Martin Archer – woodwind, keyboards, electronics
Keith Jafrate – words, voice on 15

Paul Taylor – grand piano
Peter Sells – bass guitar
Martin Pyne – drums, percussion, vibraphone

string orchestra and quartet

Natalie Purton – violins and violas
Liz Hanks – cello

30CD - Army Of Briars
Army Of Briars
Army Of Briars


Considering that I don’t get a chance to hear very many new records with singers, I do appreciate the change of pace. With Ms. Cole singing lead and Mr. Jafrate writing most of the lyrics, there is an older, quaint, folk rock sound here that I find most enchanting. Ms. Cole has a lovely, charming voice, which is subtly surrounded by strings, woodwinds, piano and sympathetic rhythm team. “Arbor Low” begins with a chorus of warm, sublime vocals and is soon joined by the strings and Mr. Archer’s fine clarinet. Tim Cole sings lead on “The Green Man” and he also has a most charming forlorn voice which is delightfully backed by Mr. Archer’s quaint reeds (soprano sax?). The title song, “Made from a Broken Star”, is most exquisite and is arranged by Mr. Archer who seems to be playing a mellotron or something similar (sampled reeds?). I must admit that I am a big and longtime fan of this sort of elegant, softly majestic folk/pop. If you are a fan of Speed the Plough or Dead Can Dance or Steeleye Span, then this disc should make you feel better. It is soothing and softly mesmerizing. It is too bad that more folks won’t get a chance to hear this gem, it could make them feel better, calmer perhaps. – Bruce Lee Gallanter, Downtown Music Gallery NYC

A lovely, uplifting collection of songs. Recommended. – Jack Porcello, File Under Popular. WAYO 104.3FM

It has been a long time since the previous Army Of Briars release; sixteen years to be precise, but it does feel as though they have never been away. Coalescing around the quartet of Julie and Tim Cole, Martin Archer and lyricist Keith Jafrate, they ply their unique blend of folk, jazz and impressionist abstraction on Made From A Broken Star, leaving the worries of the day-to-day world behind, and revelling in the joys and surprises that nature has to offer. Keith’s poetic words here are lovely and thoughtful descriptions of nature’s solitude and definitely suit the ageless purity of Julie’s voice, which is the only constant through this intriguing mix of seventeen pieces that veer wildly in style from one track to the next. The autumnal nature of the album is evoked by the melancholy piano and hidden shoots of percussion that accompany Julie on opener “To William Blake”. Blake is a good pointer for some of Keith’s imagery, but his love of the countryside and for the more esoteric elements of rural existence make for a more interesting ride. Some tracks hint at folk, but there is far more going on with a particular use of woodwind on “Go Song” and the slow sweep of strings courtesy of Natalie Purton and Liz Hanks. Some pieces have Julie harmonising with herself and I couldn’t help but be briefly reminded of Miranda Sex Garden. However, Julie’s cut-glass enunciation and observational distance inhabit their own frozen ground universe; while in contrast to Julie’s voice, Tim’s has an affecting frailty that injects a different power into the words. There is something ageless about his guitar accompaniment on “The Green Man”, with the line “All who pass my way are changed” being particularly moving. It is extraordinary on listening to the album to discover that this was all recorded remotely and then pieced together by Martin in the studio, as it does feel as though the various players are interacting naturally with one another. It seems that the more that time progresses, the more difficult it will be to differentiate between remote recordings and those where the group are playing together. There are no complaints here though, because if the quality of the output is akin to this then the possibilities are endless. The quartet was also fortunate to have assistance from pianist Paul Taylor, who lends some jazzy cascades to a few of the pieces and some melancholy introspection to others, but always allowing the differing vocal structures to take precedence. It is all dependent on Keith’s scanning which, like the best of poetry, only follows what the words demand. Where the words lead so texture follows; there is slow unfurling discord in places and in others just the simplicity of frail voice and guitar. Double-tracked voices trade with scattered percussion courtesy of Martin Pyne on the mysterious “Birdflight”, while his vibraphone adds further abstraction to the spectre-like lilt and haunting motifs of “Flight Flower”. When Tim and Julie duet, there is a kind of magic that the differing styles exude, and you might not expect a throaty sax workout to appear; but it roars in on the penultimate “In Part Two”, just to keep you guessing. The ambient reprise that ends the album loops right back to the beginning and is a perfect way to see the disc out. Made From A Broken Star may have been sixteen years in the making, but it is well with the wait. – Mr Olivetti, FREQ

Avant Rock, Improv Jazz, Electric Jazz, Electronic, Poetry & Songs, typisch Discus ist einzig eine allenfalls durch den Bezug auf Sheffield dominierte Vielfalt. Aber Poesie, wie die von Dylan Thomas bei Mesons „The Tao of Cwmdonkin Drive“, und Gesang – Sylwia Anna Drwal bei Mzylkypop, Jan Todd als Frostlake, Carla Diratz bei The Archers Of Sor­row, Julie Tippetts zuletzt einmal mehr bei „Illusion“ – , dafür ist Martin Archer doch ganz besonders zu haben. So auch mit ARMY OF BRIARS bei Made from a Broken Star (DISCUS 135CD), mit Lyrics von Keith Jafrate, gesungen von Julie & Tim Cole, der die Melodien er­sonnen hat und Akustikgitarre spielt, während Archers Woodwinds, Keyboards & Electro­nics noch mit Strings, Piano, Bassgitarre und von Martin Pyne mit Drums, Vibraphon, Ras­seln, Glo­ckenspiel ‘orchestriert’ sind. Jafrate, der mit The Word Hoard das Huddersfield Poetry Festival organisiert hat und selber Musik macht mit Orfeo 5 und Wolf Scarers, stellt William Blake als Ikone an den Beginn und ans Ende und führt, wie so viele Albionkinder vor ihm, hin zu grünen Horizonten und in geheime Gärten. Hungrig nach dem bread of living, mit dem Ohr für grass hymns, dem Auge für ‘The Green Man’. Mit Blake-Spirit kon­trastiert ertheatres of soot und the town…in grey and black mit the meadow’s green ton­gues und a roof of feather-light slow rain. Naturfromm ringt er um Worte, die der Farbig­keit, der Flüchtigkeit, der Unvergänglichkeit der Natur würdig sind. Birdflight beats in the heart of each song, den Julie C. mit blumenmädchenhaftem Sopran anstimmt und Tim C. als ‘Orpheus in the Undergrowth’ mit David-Tibet-Timbre. Der ganze Zauber von Sandy Denny, Jacqui McShee, Vashti Bunyan nochmal als Regenbogen und kiss of particles in love with time. Das ist Folk Music höchstens dann, wenn man Mauersegler und Birken mit zum Volk zählt, und dann wären ‘Birdflight’ und ‘Flight Flower’ immer noch ausgenommen als extraordinäre Art songs von Archer, der mit der Natur auf goldenem Fuß steht. – Rigobert Dittmann, BAD ALCHEMY

Army of Briars is a collaboration of Julie Cole (voice), Tim Cole (voice, guitars, songwriter), Martin Archer (woodwinds, keyboards, electronics) and Keith Jafrate (lyrics). Archer needs no introduction, but Jafrate is new to me. He is a saxophonist and poet who worked in the 90s as a member of the jazz-poetry trio Sang, followed by Orfeo in 2002. Later, he led his jazz quintet Urburo. From what I can trace, he is mainly working as a poet nowadays. Julie and Tim Cole have operated as folk-duo The Coles already for many years, performing traditional folk and their folk songs, accompanying their vocals with guitars, cello and tin whistle. In 2005 they started working with Martin Archer (woodwinds, keyboards, electronics) and Keith Jafrate (lyrics); this opened a new chapter for the Coles. From this grew the Army of Briars project. In 2007 they were ready for their first release. In one way or another, they kept the fire burning over the years, and now they release their follow-up. Again with lyrics by Keith Jafrate. And likewise, folk is combined with elements of jazz and progressive music. As on her first statement, they are helped out by a few guests. This time Paul Taylor (grand piano). Peter Sells (bass guitar), Martin Pyne (drums, percussion, vibraphone) and a string section contribute. I do not know about developments in folk music in England, but I can imagine this is a perfect example of music that is 100% folk-rooted but at the same time open to other influences. Elements of jazz and prog that they integrate work as an extension of their ‘folk music. Songs are intelligently structured and a bit experimental. Archer took care of nice arrangements and instrumentation. An album of positive music. Warm sound and nice harmonies. Very enjoyable! – Dolf Mulder, Vital Weekly,

Made From A Broken Star is one of those album titles that straightaway intrigues and, when presented in a compellingly arty, beautifully designed and executed package, it has to be regarded as a rare must-explore artefact. And trust me, you’ll not be disappointed. This album represents experimental/psych-folk at its best, an outstandingly original disc in sound and concept. It’s a masterpiece of folk magic, which mixes into its overall folky ambience intense but delicate poetry and elements of psych and prog while boldly yet naturally flecked with jazz improvisation moves. So who are the Army Of Briars? It’s a four-piece that, in broad terms, centres around the established Sheffield husband-and-wife duo Tim & Julie Cole, multi-instrumentalist, electronica specialist and producer Martin Archer, and the imaginative and evocative lyrics of contemporary poet Keith Jafrate, an undeservedly obscure figure who I believe once led a succession of jazz-poetry and modern-jazz ensembles. From time to time, the foursome may bring in extra musicians as required to further augment the already selective palette with additional timbres – in this instance, grand piano, bass guitar, percussion, or a brace of string players who together may form a quartet or string orchestra. The product of Army Of Briars’ endeavours is a highly persuasive and uniquely tactile music that has a strong and absolute feeling of connectedness with the listener. This connectedness and unity is all the more striking when you learn that the individual constituent parts were recorded separately by the musicians and then mixed remotely by Martin: a familiar and now common modus operandi of course (especially in these pandemic times), but rarely so successfully engineered that the end result, as here, deceives us into believing it’s capturing a live, interactive band performance with musicians responding to and trading off each other in real-time (as a unified ensemble playing in the same location). The three Army Of Briars’ musicians enjoy a special relationship with the texts to which they provide a musical response or affiliation (it’s not appropriate to use the word “accompany” in this context, IMHO). Their freewheeling-folk-prog musical expression ideally suits Keith’s poetry, which has been described as imagistic – key features of this style being the employment of free verse in conjunction with precise imagery and the patterns and rhythms of common speech. This feature is mirrored brilliantly in a comparable conjunction of free and precise expression in the music – especially, I think, in Julie’s delivery, which hones in with pinpoint accuracy on individual syllables or words yet is also capable of a more extended, cool, smooth and controlled legato line. In their different yet complementary ways, Tim and Julie’s vocals are fragile and vulnerable yet strong and pure, matching the expression of the simple, ageless impressions and experiences, while the musical backdrops are ingenious, warm and yet often quite other-worldly. This juxtaposition, together with the adventurous, constantly shape-shifting instrumental chiaroscuro conjured by Martin and Tim, produces a totality of experience that is genuinely exciting and animated, with the tones, timbres and vocables colliding to represent (i.e. both depict and express our responses to) aspects of nature – and in doing so, replicate intensely the curious duality of the seemingly diametrically opposed states of solitude and connectedness that may often characterise our experience of nature. There’s also a lithe, supple quality in Army Of Briars’ approach to illustrating Keith’s poems, for all that individual group members’ roles are both consistent and well-defined within the process of setting to music. In simple and general terms, Tim is responsible for the melody – this is a considerable achievement in itself, a feat of imagination that transcends pure musical skill, and not to be underestimated, for the source poems are by no means straightforward either linguistically or structurally. Martin is then responsible for the musical arrangements, excepting a small handful of tracks where the setting involves a grand-piano part performed and composed – or in one case improvised – by guest musician Paul Taylor; or a percussion collage assembled by fellow guest musician Martin Pyne (drums, percussion and vibraphone), whose deft and melancholy signature jazz vibe proves an integral element in the texture of several tracks, driving the text along by a spellbinding combination of metrical anchoring and brushed momentum. Julie’s role lies in the interpretation and transmission of the words through her seriously beautiful cut-glass-pure voice, and she feeds off and into Tim’s quite particular, often distinctly angular melodies with a symbiotic closeness, in which respect her harmony singing with Tim is spine-chilling. On a number of tracks, Tim’s own voice takes the lead, and its attractively frail, even almost diffident timbre imparts another, quite unexpected kind of ethereality to the insistent, questioning imagery and scattered thought-patterns. The accuracy of the disc title Made From A Broken Star is brought into focus as its potentially diverse shards, or elements, collide and collude to form an enlightening whole. It’s noteworthy, but perhaps easiest in retrospect to observe, that no two tracks sound alike; in this regard, many times over the course of the album’s 54 minutes, I felt a tangible kinship with the sensibility and open-heartedness of the Incredible String Band. However, all tracks are united by the poet’s commonality of vision and resilient use of language as translated into the instrumental – and vocal – imagery. The very immediacy of Keith’s modus operandi as a wordsmith seems to cohere with the heady rush of free-jazz. Yet, conversely, each utterance is precisely enunciated and deliberate, coordinated in a way free jazz tends not to be. The album’s 17 tracks gather together to form a kind of song cycle that begins and ends with Keith’s dedicatory epistle To William Blake. This poem is both an introduction/preface to and summary of Keith’s poetic consciousness and the wild and inspirational inventiveness of the musicians’ responses to the extraordinary verbal stimuli. It’s presented in two completely different musical settings – first, a skewed jazzy piano and restless brushed-snare take up the disturbed, fragmentary reflection of the poem sung in strangely smooth-toned staccato, the mix of concrete and impressionistic, ancient and modernist (Blake and ee cummings perhaps?) that swoons in gentler (albeit still restless) electronic ambience in the second setting, which serves as the album’s coda. In between the Blake-dedicated bookends, then, we traverse a sequence that undeniably forms a kind of narrative which intermingles themes and preoccupations (observation, desire, determination, escape, loss) yet can also be taken more literally as a series of nature portraits, each positively dripping with colourful, intense crystals of reactive response that explore through the musical setting the intimate personal impact that that aspect of nature exerts on the poet on his journey through the landscape. Track 2, Go Song, forms a logical sequel to the Blake tribute, with its invitingly sodden greenery instigating creative writing through the fall of a raindrop, set to a straightforward backbeat pulse that’s gradually taken over by a sensory clamour of instrumental inventiveness. Arbor Low is one of the album’s most arresting sonic experiences; it begins with Julie’s voice piercing the silence, spine-tingling doubletracked harmony, the cue for the wind to come rippling and then tearing through the foliage, a force of nature portrayed darkly by clarinet, whistle and layered autumnal strings – a touch reminiscent of Robin Williamson’s Myrrh period. Tim then takes over to give voice to The Green Man and his leafy transformative powers, backed by sinuous brushed rhythm, vibraphone and soprano sax interjections; his voice is joined by Julie’s, and together they reach a magical apotheosis on the key line “All who pass my way are changed”. A Reforming Monster and Jack Of All Trades are united by a sense of almost childlike playfulness. The former is almost like entering a windblown woodland toyshop, with scattering, skittering percussion cross-rhythms and gleefully wilful electronic interjections, whereas the latter’s magical folklore brings a carefree medieval dance round the bonfire that’s interrupted periodically by mischievous goblin jazzers. The disc’s charming title song’s fractured melodic note clusters spill out in glittery, jittery, spiky percussion backed by soothing guitar and glockenspiel traces, forming a kind of metaphysical portrayal of devotion. Having Nothing, on the other hand, has the aura of a confessional chanson, and plunges down into despair and desolation, again mirrored in nature, its failings, its rootlessness and misplantings. There’s further drama in the drum roll that ushers in the mysterious reedy slow dance of The Nine Ladies, which gains a portentous, stately ambience with the introduction of the evenly piercing timbre of a mellotron straight from the court of the crimson king. Whence might also have arrived the focused freestyle flutterings of Birdflight’s piano and percussion and refracted chords. After the latter’s frozen interlude, The Kindest Water brings a distinctly Grateful Dead feel with its frantic tumbling rhythms and, in particular, the electric guitar solo that develops out of the weaving, twirling sax/mellotron dance. The rain-sodden atmosphere then clears for This Is The Sum and the promise of renewal and the reappearance of the swifts and swallows. Think Of A Time again harks back to prog-folk with its fluted Tull flourishes (tho’ this track wouldn’t have been out of place on an early Family/Traffic album!). Then, in complete contrast, Flight Flower brings Julie’s most extraordinary vocal performance on the album: an impossibly, impeccably poised tour-de-force of awkward melodic leaps and seemingly random intervals offset by Martin Pyne’s bustling, skeletal percussion improv and glacial vibraphone cool-jazz counterpoint. Then comes the barely-a-minute-long A Book Put Me Here, where for once, the poetry seems to demand more than Martin’s arrangement can give it; here, Keith reads his own poem against a lounge-jazz piano and drumkit backing. Somehow it doesn’t fit with the tracks on either side (maybe this pithy reflection didn’t readily inspire a melody – who knows?), but we’re back in the groove for the penultimate adventure of the album, In Part Two, an uneasy and slightly cluttered collision of musical styles that provokes a cathartic multi-sax cacophony before yielding to the fader and looping back to a reprise of the Blake dedication that heralded the start of the sequence. It’s hard to believe that Made From A Broken Star is only Army Of Briars’ second album. Their eponymous debut was released all of 15 years ago; they themselves described it as “an album of songs so challenging to write and record that we were never able to follow it up – it stands as a record of our commitment to push our individual skills to their limits by taking these songforms and extending them into new sonic territory”. A bold, often unorthodox combination of elements it certainly proved – and the hallowed names of Pentangle, The Incredible String Band, John Martyn, Nick Drake and Stockhausen were all pertinently namechecked as influences. Back in 2007, the experimental settings may have appeared a touch over-busy and consciously “arranged”, especially where the electronics were prominent in the soundscape. This new offering, while manifestly cut from the same cloth, possesses a greater assurance and integration of parts, all the while retaining the air of improvisational spontaneity in the musicians’ interaction and responsiveness. It also achieves a greater clarity of texture, each track maintaining an impressive sense of proportion without any sense of overload even when the texture is busy and all the channels on the mixing desk occupied. It’s a living, breathing vision that’s shared by poet, musicians and arranger. Made From A Broken Star is a most beguiling artistic statement that’s nigh irresistible both in its proud natural strangeness and in its uniquely original and powerful musical and lyrical expression. Diversity of expression, aural stimulation and honest experimentation go hand in hand with allowable and welcome creative eccentricity, while the level of musicianship ensures that the end product, while lovingly and painstakingly crafted, is shot through with integrity and a real sense of purpose. This is enhanced by the enclosed lyrics-booklet, which is adorned with a host of wonderful illustrations by Julie herself. The overall package is an example of old-fashioned presentation art and craft at its very best. This is one of those fabulous (if at times demanding) albums that comes along only once in a very long while. Keep an open mind, and you’ll discover this is a CD to be grabbed, explored at length and cherished – you’ll not hear its like anywhere, I’ll venture. – David Kidman, FOLK RADIO

ARMY OF BRIARS tourne autour d’un trio – Julie Cole (chant), Tim Cole (chant et guitares) et Martin Archer (e.a. aux claviers) – auquel vient s’ajouter, selon les besoins des morceaux, une belle brochette d’amis. En 17 chansons dont les paroles sont de Keith Jafrate (4ème membre du trio), « Made from a broken star » raconte l’histoire d’un shaman exilé dans la dure réalité d’aujourd’hui et qui cherche à trouver le chemin pour retourner dans le monde vert … et qui le trouve. Un album enregistré à distance, en raison des mesures de lutte contre le coronavirus, et qui donne l’effet d’un enregistrement en public. Côté musique, on est dans la pure tradition du songwriting progressif, avec parfois quelques touches qui nous font penser à Nico … – Guy Stuckens, RADIO AIR LIBRE

Es gibt doch tatsächlich ein neues Album von Army Of Briars! Wer? Ja und? … Zur Erinnerung (siehe “Army of Briars”): ‘Army of Briars (Armee der Dornbüsche?) sind das Ehepaar Cole, das offenbar schon seit den 80er Jahren des letzten Jahrhunderts als Folkduo tätig ist, der für die Texte zuständige Musiker und Dichter Keith Jafrate und der Multiinstrumentalist und Klangbastler Martin Archer. Offenbar kannte man sich schon ewig und wollte seit Langem gemeinsam ein Album einspielen. Zwischen 2005 und 2007 konnte das dann zusammen mit einigen Gastmusikern verwirklicht und 2007 auf Archers Discus Label veröffentlicht werden.’ 15 Jahre später gibt es nun Nachschlag. Zwischen Juni 2021 und März 2022 bastelte das oben genannte Quartett, wieder unterstützt von einigen musikalischen Gästen, an neuem Material, welches dann im Juli 2022 bei Discus auf CD erschienen ist. Offenbar hatte man corona-und lockdownbedingt spielten die jeweiligen Beteiligten ihre Beiträge getrennt voneinander (zuhause) ein, und das Album wurde dann von Archer in Sheffield zusammengebaut und abgemischt. “Made From A Broken Star” kommt als Mehrfach-Klapp-Digifile, versehen mit einem Coverbild von Julie Cole und einem bebilderten Beiheft mit den Texten. Am Konzept des Projekts hat sich im Vergleich zum Erstling nichts geändert. Folkige, ab und zu leicht schräge Songs, vorgetragen von den beiden Coles (Stimmen und Akustikgitarre), bilden die Grundlage der Musik. Dieselben wurden dann umfangreich klanglich verziert, mit Solobläsereinlagen (Holzgebläse und Flöten), Tastentönen (inklusive Mellotron), ein paar Elektroniksounds, Kammerstreicherlinien, hallenden Klavierwolken, warmen Bassmustern und etwas Perkussion und Schlagzeug. Das Ergebnis sind 17 abwechslungsreiche Nummern zwischen Folk, Jazz und Avantgardistischem, dezent elektronisch-rockig bzw. progressiv-symphonisch verunreinigt, bisweilen versehen mit Canterburyartiger Atmosphäre (man könnte gewisse Bezüge zum Solowerk von Robert Wyatt herstellen), kammermusikalisch erweitert oder freier klangbastelnd verfremdet. Die Atmosphäre der Musik bleibt dabei aber eher beschaulich, folkig-verträumt, mitunter etwas melancholisch eingefärbt, ätherisch-mysteriös, ab und zu aber auch bewegter tänzelnd, ohne dass es allzu schräg oder gar wüst zugehen würde. Ein gewisser RIO-Duft liegt aber klar in der Luft und Archer sorgt bisweilen für entsprechendes Rohrblatttröten. Ein paar Stellen mit freiformatigem Tonhallen, dass dann entsprechende Textvorträge begleitet, gibt es auch. Meist gleitet die Musik aber eher ruhig und luftig dahin, wenn auch klangvoll und durchaus voluminös produziert. “Made From A Broken Star” ist ein ausgesprochen gelungener Nachfolger des Erstlings und setzt das dort definierte Konzept auf hohem Niveau und sehr abwechslungsreich fort. Wer folkige Songs in einem sehr originellen Avant-Jazz-Canterbury-Kammerrock-Gewand hören möchte, der/die sollte dieses Album (und natürlich auch das Debüt) auf keinen Fall verpassen. – Achim Beiling BABYBLUE SEITEN

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