"Bermuda Triangle" 1977

Released as a private pressing on the aptly named Winter Solstice label, Bermuda Triangle who hail from Long Island New York released this gem in the height of Punk...1977. A combination of The Farm Band and Bobby Brown (the solo act from early 1970's California), Wendy Carlos meets Joan Baez the band were made up of a female singer/bassist/female drummer/violinist and a guy who sings and plays the electronic auto harp/organ and piano. The sound is totally lost in time and transports you back to the carefree days of the early seventies and is extremely trippy. You have to check out the wah wah auto harp, the weird percussion and bass, a great listen almost pre-dates the current folktronica scene. This wild album has to be heard and is quite superb from folk to reels to country all bathed in this misty auto harped glory. (Forced Exposure)

Acid Archives:
Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL]

Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre. [AM]

01. Nights in White Satin
02. Right Track
03. Dream On
04. Lark in the Morning
05. Free Ride
06. Standing Together
07. Louisiana
08. Night Train
09. Wind