Esoteric Antenna (label)
01 November 2023 (released)
01 November 2023
Edgar Broughton is a name that goes way back to the earliest days of progressive rock where they burst out of Warwick in 1968, playing Blues-based political and social-active rock, their biggest hit being ‘Out Demons Out’. Consisting of Edgar Broughton (vocals and guitar) and Steve Broughton (drums) with Arthur Grant (bass), who were augmented at various times by a second guitarist and/or keyboardist, significantly Victor Unitt. They had a number of different lineups before finally disbanding in 2010, with Edgar Broughton opting to continue to perform as a solo artist. Steve Broughton died on 29 May 2022.
This album came out of a series of programmed tracks that Edgar wrote, hoping that Steve Broughton and Arthur Grant would work on them later on. The Covid Lockdown saw Edgar Broughton work on them again and adding some new song that he had written. They were remotely worked on by Grant and Swedish cellist Cellie Arngrip and mixed by the renowned producer John Leckie who has a long association with the band.
It is totally unlike anything that the Edgar Broughton Band ever made. At times ethereal, Edgar’s voice, while still deep, is completely unlike the Capt. Beefheart bellow of his early days. The guitar work is airy and has a depth of emotion that brings out the feelings in his vocals.
The album opens with ‘One Breath’. Piano notes twinkle and synth lines float around the guitars while Edgar’s vocal intones. ‘Belle Of Trevelyan’ has the depth of a cello and as Edgar sings, I can hear echoes of the old Edgar Broughton, but he is far more musical than back in the days of ‘Wasa Wasa’. As you progress through the album it offers different facets – dark and heavy rock, beautifully observed – almost poetic – images of still life, Poe-like tales with acid guitar and classic Broughtonian vocals. Even a haunting version of Tim Rose’s ‘Morning Dew’.
There is nothing here that does not bear repeated listening.
I very rarely hear collections that knock me on my ass the way this one does. One of my ‘albums of the year’
