NEW RELEASES
ALBUMS
Bass Tone Trap
Trapping (Discus)
One of the more unexpected, but more than welcome, re-issues. Trapping was recorded in 1983, and at the time was compared to the likes of Soft Machine, Archie Shepp, Prime Time and the Art Ensemble Of Chicago - but with a foot in pop as well as free jazz. The six-headed beast featured Sheffield stalwarts Martin Archer and Derek Saw on saxes, John Jasnoch and Neil Carver on guitars - all four still to be found playing together on a regular basis - with the line-up completed by double bass player and singer Paul Shaft and drummer Pete Infanti. The music sounds completely timeless some 23 years later. The story is really about how the record became to be re-issued at all. It turned out that a bunch of Italian musicians had been influenced by Trapping all those years ago. But it took them 23 years to finally decide to track down the original perpetrators and asked if a re-issue was possible. The album, now on CD, features the original ten tracks, plus three extras, including an hilarious review by an un-named radio station. The album sounds just as fresh now as it was back then. And who could possibly ignore a track called: The Complex Aesthetic Of John Jasnoch?
Martin Lilleker
http://www.discus-music.co.uk
http://www.musicalacoque.com
The Butterfly
Impatient Orchid (Good Name For A Racehorse )
Ten things I’ve learnt from this CD (three with the aid of Wikipedia, the rest, all by myself):
1) De Clerambault’s Syndrome (see track four on this EP) is when for no good reason someone believes an unattainable figure is in love with them, but unable to express this love.
2) Thanatos (see track two on this EP) was the Ancient Greek personification of death.
3) Eros (again, see track two on this EP) was the Ancient Greek God responsible for love lust and sex.
4) The Butterfly really are a very good band. Bizarre. Possibly dangerously unhinged. But by my Greek Gods, they rock like a bunch of book reading, Mike Patton adoring bastards. I mean really, how many bands are clever enough to sing a song called ‘Dispatches from De Clerambault’s Patient’ or ‘Eros and Thanatos’ without either sounding really pretentious or really dull? Not many, I bet. And how many soundtrack these themes with music that can switch from a rather understated, almost jazzy moment to a cataclysmic trash.
5) That voice. Bulletproof (the name of the vocalist, apparently, I don’t believe them though) has obviously spent a lot of time in his room singing along to Faith No More and System of a Down records. This means he can switch between a vitriolic yell to a smooth croon and convey a real strength of emotion in every word.
6) Booksmarts are important kids, you can’t beat that kind of knowledge.
7) Listening to challenging music, not recycling whatever the cool kids are doing will, in time, make you a more interesting band.
8) Being able to play an instrument well will make your band sound loads better.
9) Not enough bands use brass, or a-cappella breaks.
If you disagree with any of the above, use Google (to prove the first three points correct) or buy this EP (to prove the other six points correct).
Tom Goodhand
http://www.thebutterfly.co.uk
James William Hindle
Joshong (Early Winter Recordings)
Hindle has already made a bit of a name for himself with three albums on San Francisco’s Badman Records and London-based Track And Field Records. JHW is best known for his folk/ pop balladry but on this occasion he is barely there, such is the nature of the ever so gentle music and almost whispered words. The pieces are a mixture of banjo instrumentals, beautifully intricate finger-picking guitar pieces, gentle drones, the occasional hint of accordion, harp, percussion and JWH’s bleak and intriguing lyrics. Song titles such as I Can Feel The Cold Even When You Hold Me and Bleak House set the tone even though both are instrumentals, while Hiding Away features lines including “Do not enter in this house, dark and cold and empty,” and In Your Place “I didn’t even notice you weren’t by my side.” It’s an intriguing collection of 11 tracks taking up just 30 minutes. But it is 30 minutes to savour.
Martin Lilleker
http://www.earlywinterrecordings.co.uk
iLiKETRAiNS
PROGRESS REFORM (Fierce Panda)
How far have iLiKETRAiNS come in barely more than a two years? Initial shaky gigs have made way for big tours, three singles, and now this. A mini album (that, due to iLiKETRAiNS’ epic tendencies is actually longer than a lot of albums). It’s seven sublime tracks, building up epic soundscapes, telling tales of tragedy and revenge, and veering expertly from the minimal to the explosive.
Of course, a lot of these tracks we already know. There’s latest single, ‘TERRA NOVA’, previous single, ‘A ROOK HOUSE FOR BOBBY’ and its b-side, ‘THE BEECHiNG REPORT’. Plus, we get rerecordings of two ‘murder ballads’, of sorts, ‘STAiNLESS STEEL’ from the first DTTR compilation and old demo ‘THE ACCiDENT’. The changes to the latter two tracks really show how far the band have come. The arrangements are much cleverer, and the sonic building subtler than the versions we are used to.
The album hangs together expertly, sounding like a far maturer work than it really has any right to, considering the relatively short amount of time that iLiKETRAiNS have been together. And as ‘THE BEECHiNG REPORT’ ends with the melachonic chorus of “Reform, reform / Oh, you are taking apart / What we made / With our hands and our hearts”, it becomes apparent what a special band this it.
PROGRESS REFORM is a work that they should be proud of, and a hint at how good the first full album will no doubt be.
Tom Goodhand / Tony Woolgar
http://www.iliketrains.co.uk
http://www.fiercepanda.co.uk
Immune
1/f (Gizeh)
There’s a rather wonderful aura of ambiguity that surrounds Immune. They make knowing references to “cogs being in relevant positions” and “subconsciously endogenous protagonists”. Which is all well and good, but serves only to inspire a kind of glazed look of bafflement. The kind that you might get after sitting through a comprehensive analysis of Donnie Darko as delivered by a slightly brighter mate who’s desperately trying to cover the fact that they have no idea either.
This may of course be a carefully stage-managed attempt to confuse and impress in equal measure, or it might be that they are all quite naturally a bit odd, but either way the chances are that Immune are cleverer than you. Which is good, because rather than waste their time trying to explain bonkers indie films, they’ve put their planet-sized brains to more productive use and crafted a thoroughly rewarding album instead.
It starts much as you’d imagine, with some Steve Reich/Avro Part/Michael Gordon-esque multi-layered soundscaping that builds into a glorious hubbub of white noise and general unpleasantness. Before blossoming into a Technicolor structured rock wall-of-everything that blends chiming guitar stuff with power chord stuff with wailing soaring stuff with electro chill-out stuff with kitchen sink and Uncle Tom Cobleigh and all stuff, that bears more than a passing resemblance to Oceansize for around an hour. Breaking only occasionally to wander off down an avant-garde cul-de-sac or two before doubling back into the rock noise again.
Its a remarkable album that stays interesting, challenging and a lot more accessible than it might have been right to the very end. Although don’t expect to ever fully “get” it. Which is probably the point. I think it might have something to do with wormholes and rabbits…
Rob Paul Chapman
http://www.be-immune.com
Lords
This Ain’t A Hate Thing, It’s A Love Thing
(Gringo Records)
This record utterly stinks of alcohol. From the opening ‘Pint Of Wine’, there’s a dirty intoxicating feel to this slab of hard-riffing blues hollering, a third pint (of wine) rush to the whole thing, an energy. Listen to this first thing in the morning and it’s the equivalent of having a premium lager for breakfast. These are all good things. By the time you get to ‘Liqueur’, you’ve already experienced the fantastic live favourite ‘Unfortunate Death Of The Lords’, underpinned by the fantastic throb of Lord Elvin, and ending in a flourish of unexpected strings.
You keep thinking Jon Spencer, you keep thinking bits of Beefheart, shades of Sabbath, but this is individual enough to make all these ponderings utterly irrelevant. Three tracks in and you’re hammered already. This is rock that grooves, but doesn’t settle into one. It keeps moving, never getting lazy or boring. Then ‘Mingus (Pts 1-3)’ comes in. The jazz, the changes of pace, the drums... It’s all over the place. Lorks-a-Lordsy.
After such an explosive opening salvo, there’s a respite for a sleazier groove in the next couple of tracks before the insanely drunken vibe returns, inevitably, on ‘I Want To See You Drunk And Dancing Like A Russian’, which oddly recalls Supergrass in places, before breaking down, then riffing back up into it’s irresistable groove. Dem blueseses ain’t never sounded so much fun. And the riffs never stop. ‘My Sweetheart The Horse’ is a suitable gallop to the exhilarating finishing line. And Lords deserve a rather splendid rosette, as well as several splendid pints of rosé for intoxicating us all so well.
Although the handclaps tacked on at the end are a bit shit to be fair.
Craig Wood
Neil McSweeney
Remember To Smile (LM)
You know those albums that seep in? The ones that stand rapid repeated listens, even though at the time you’re not consciously aware what you’re doing? The ones where you catch yourself humming tunes or snatches of lyrics with no idea where they’re from and then it suddenly clicks? Well, ‘Remember To Smile’ is most definitely one of them. It’s not a happy album, but then neither is it pessimistic. It has something of the melancholy of Nick Drake about it, but tempered with what is almost alt country and shot through with the feeling that even sadness must be celebrated. Standout tracks range from plaintive solo acoustic numbers such as Sunrise through to Long Way Round, where backing band The Gents add a real understated beauty as McSweeney sings ‘we go rolling down the London road / though we know it’s not the best way home / sat on a corner staring at our shoes / sick to my guts for the love of you’.
If you have even a passing interest in anything less uptempo than Abba taking speed with the Venga Boys, this is an album you will love.
Seth Tempo
http://www.neilmcsweeney.com
The Navigators
Scala
Navigators feature two of Sheffield’s best known improvising musicians, Charlie Collins and John Jasnoch. They are a long-standing duo, now a threesome with the addition of relative newcomer Beatrix Ward-Fernandez on violin and theremin. Collins’ CV stretches from Clock DVA and The Box, to industrial percussion group Left Hand Right Hand and the Para-Music Ensemble. He’s also one of the few musicians to play both Derek Bailey’s Company Week and Top of the Pops (with Moloko). John Jasnoch has played with Bass Tone Trap, the Bone Orchestra and across Europe and North America. The improvisations are based around the three main instruments – Collins’ recently acquired vibraphone, Jasnoch’s selection of guitars, including 12-string, ud and ukulele, and Bea’s violin. The interplay between the threesome is astounding with Bea’s violin often to the fore. Intricate improvisations are evident throughout the eight lengthy tracks, with Bea’s wispy theremin contributions providing strangely unsettling moments. Various bits of wood, metal and percussion help flesh out the sound. Of particular note is the track Pevigu featuring Jasnoch’s tightly cut, gashing, bending notes on 12-string, while Collins displays his glowing mastery of the vibraphone. The album finishes with Udso, featuring Jasnoch on the short-necked fretless ud, creating a powerful Eastern flavour, and bringing the whole thing to an amazing finale.
Martin Lilleker
http://www.foundpropertyrecordings.com
Polaris
Polaris (Gringo)
Leeds quartet Polaris have been around for over a decade now, and this, their untitled second album (following 1998’s ‘Belated’) is an understated jangly post-rock affair. It’s low-key, spacious sound is both its strength and its weakness though. The guitars weave nicely enough, recalling a mix of the melodies from Tortoise’s seminal ‘Millions Now Living..’ and the feel of Minus The Bear; clean and chiming, with several subtle melodic patterns allowed to breathe at once. It plods along pleasantly, if insubstantially, although it speaks volumes that the better tracks are those which avoid vocals.
The underlying symptom of the problem with this record is partly what should be its charm. It’s a beaten-down, world-weary beast, but while this isn’t necessarily a problem, a lack of variation overall, combined with the doleful and somewhat insubstantial vocals turn a lot of the album into a fug. The odd exceptions come in the middle-to-second half. ‘Kissing’ isn’t bad at all, but threatens an explosion that never arrives, but it’s on the next track that drummer Neil Turpin (also of Bilge Pump, and Quack Quack) finally gets a chance to get busy and nail the best track out of the seven on ‘Conquering Small Spaces’, whose accelerated pace and (again) Tortoisesque guitar show a different mood to much of the rest of the fare here. On the home strait, ‘You Don’t Know Things’ ebbs and flows menacingly and stands out as the best vocal track on here by some way. The second half is definitely worth a good listen, but overall this is less than the sum of its parts.
Craig Wood
Paul Sleaze
The Embalmer (Giovanni Chrome)
Mr Sleaze’s long-awaited second album, follow up to the masterful Masturbot, is another classic collection of left-field pop music, with overtones of jazz guitars, weird beats, lashings of electronica and wholly peculiar bits that could only be of the Sleaze persuasion. The only drawback is the vocals – of which there are quite a few. They tend to be buried in the mix. There is still plenty to relish, with Sleaze being joined by long-term production partners Jeff Danger and Marconius Baddy, and singers including Amy Carter who takes the lead on opening tracks, No Known Case and The Strok, the latter being almost Goldfrapp-ish. Ed Carter puts a heavily treated vocal on the off-the-wall Cardinal, helping create a swirl of distended sound. The rather disturbing Sme Shells – a bastardised version of “She sells sea shells on the sea floor” – goes on to feature a voiceover courtesy of Telewest’s text-to-voice messenger (who clearly shouldn’t be allowed to work in such a public forum). It’s an album of many hues. And, as ever, wonderful artwork from Nicky Kirk – tethered walrus cockdogs anyone? What next?
Martin Lilleker
http://www.gcrecordings.co.uk
Some Thoughts About Shkrang!
Shkrang! (Discus)
Free jazz players Mick Beck on tenor sax, bassoon and whistles and Paul Hession on drums have been performing as a duo for some time, bringing in different players to make up a trio. On this occasion, recorded live in Spain and England in 2003, they were joined by the electric guitar and electronics of Dave Tucker who also provides studio embellishment. The results are brainstorming sessions of incredible power, with all three providing raw energy. Tucker adds slabs of dirty electronic sound and guitar Fripp-eries, while Hession and Beck set up dramatic head on collisions. Highlight track is the 20 minute Opera which marauds unsteadily to a conclusion, with what sounds like Sooty and Sweep (no Harry Corbett though) joining in at one point. Who says there is no humour in free music? The sheer enjoyment of musicians at work and at the top of their powers is palpable. The album finishes with Seething, featuring a many-headed guitar and a groove that gives Beck full rein to produce a suitably seething tenor sax solo.
Martin Lilleker
http://www.discus-music.co.uk
Spring
Cornered
With buds a-bursting, birds a-singing and grass a-risin’, it is only natural that this seasonal band should release an album now. This thirteen-tracker is a collection of songs recorded by the Leeds four-piece in the summer of 2005 at the Billiard Rooms. Will it capture all that is the British summer, or will it actually be quite good?
The first track, ‘Clipped Wings’, doesn’t bode well, with its Kings of Leon rough-hewn country riffs and pop rhythms that make Rich Gibbons’ voice sound frankly adenoidal. Like olives, though, some things need time to be appreciated. After the over-enthusiastic opening, the rest of the album settles down into a gentler pace and less abrasive style that sounds more balanced. When it’s given a bit more space, Rich’s voice takes on an Isaac Guillory tone with a Richard Ashcroft twang. Lyrically, there is little that jars or sounds awkward and the effect is a series of songs that flow smoothly from one to the other, apart from the odd exception, where the voice is forced to do something which it is entirely unsuited to, like getting raucous. Yes, gentle is the key word here, with ‘Face This Down’, ‘Jupiter’ and ‘Shadows’ being notable chill-down moments and ‘Gallery’ being a great demonstration of voice-melody balance.
In its entirety, Cornered serves poignantly as a reminder of a bygone approach to music; it’s from a more innocent age of principles, kaftans and good intentions and conjures up images of a very British summer of love where rain eventually stopped play. Lounging music.
Rob Wright
http://www.springband.co.uk
Paul Marshall
Tascam Tapes (Seduction)
An intriguing one this: a split-release (which each artists contributing five songs to make up an album-length running time) of stripped-down songsmithery by members of two Leeds bands not exactly renowned for their acoustic restraint. First up is Paul Marshall, best known to me as one half of instrumental math-rockers Concentration Champ, whose music has made less of an impact on my life than has their gloriously offensive punning and practice of wearing stockings over their faces when they play. It turns out, however, that Marshall has been quietly working up a set of gorgeous ditties by turns tender, fingerpicked and beautifully minimal (‘My Foot Through Your Door, ‘The Pharmacy Lights’), and densely strummed, uplifting and superbly arranged (note the deft percussive adornments added to ‘Oh, Napoleon!’ and ‘Denial’). The second half of the record sees The Minor Fall singer Jennifer Chubb striking out on her own as Tascam Tapes, although her voice remains so intensely evocative that it’s very hard to banish her band’s emotional hardcore sound entirely from my mind. That’s not to her discredit however, since her contributions here are perfectly suited to just such a delivery. It’s an interesting listen, utilising a variety of instrumentation and some clever vocal delay and multi-tracking to lift songs like ‘March Of The Righteous’ above US college-rock cliché, creating something genuinely affecting in the process. All in all then, a very successful experiment – let’s hope we hear more from both of them in the future.
Greg Elliott
http://www.paul-marshall.com
The Static Waves
Blast (Sea Records)
Nuns and guys in gasmasks with machine guns on the cover. It's safe to assume that The Static Waves aren't an R 'n' B band, but that's about as far as the assumptions go. Blast is eleven tracks of mangled musical mayhem, full of playful grotesquery and punk-prog-rock - anyone who thinks that punk and prog are mutually exclusive should check this out, and get hold of a couple of The Cardiacs albums while they're at it.
Though the production is appealingly rough and ready, there is some interesting stuff of quality here. 'Delerec' absurdly blends Gong with the Pixies, while 'The Brilliant Sinkers' compromises grudgingly to pop and cleverly creates an invert My Bloody Valentine sound; 'Trans Pennine Express' would not sound out of place at a Fall concert whereas 'Bleed Sonogram Cannonades', with its trudging rhythm and mocking guitar line, is a vaguely disturbing caricature of The Faces 'Lazy Sunday Afternoon'. The album as a whole feels quite abrupt, though, with songs stopping and starting suddenly, almost catching you, the listener, unawares with sounds of broken carousels and overdriven feedback. However, Michael Shawcross' vocals are pleasingly and commercially croonsome, and create a pleasant juxtaposition with the noise emanating from the rest of the band. If one criticism could be levelled, it would be at the cryptic and pompous sleeve notes that suggest over considered pretension and an unhealthy tendency for over-seriousness, anathema to the grand guignol humour of the music. Other than that, Blast is just that: a blast.
Robert Wright
http://www.myspace.com/thestaticwaves
Thunder In A Clear Sky
Outward Sound Ensemble (Discus)
In July, 2005, Canadian composer/ performer Chris Meloche played his first live performance in the UK – at Mick Beck’s venue, Over The Top, at his house in Sheffield. It consisted of three half-hour sets, starting with Nick Robinson on guitar and loops, controlling the volume and tone in a similar way to a Theremin.
A set from Martin Archer followed on software instruments, playing it with an enthusiasm that is infective. The final performance featurered Martin with Mick Beck on bassoon and Charlie Collins on vibraphone. Throughout there were treatments courtesy of Meloche who also played prepared table-top guitar, and even the occasional Slinky, a toy better known for its ability to stagger ungainly down stairs. But the final touch was thanks to Archer who suggested that trombone and cornet player Herb Bayley of the Outward Sound Ensemble overdub his sounds in real-time over the original performances at a studio in Canada for a real transAtlantic collaboration. The result is a series of performances with great depth and some profound off-the-wall music.
Martin Lilleker
http://www.discus-music.co.uk
WhoresWhoresWhores
Unicorn (Seduction)
Up-and-coming local label Seduction Records follow a strong volley of early releases from the likes of The Minor Fall and Paul Marshall with the first album proper from Leeds-based screamo heroes Whores Whores Whores, whose moniker attentive listeners may recognise after the inclusion of the band’s ‘Limited Edition Yoghurt’ on the Whiskas-curated and by-now painfully-hip Dance To The Radio compilation earlier this year. Influenced by furiously abrasive, technically-minded and forward-thinking US acts like Botch, Daughters and These Arms Are Snakes (who they recently supported on a UK tour), Whores make an awkward kind of music which grinds and thrashes in equal measure, always threatening to descend into chaos but never quite doing so, and these ten tracks (excepting the pensive ambience of penultimate number ‘Trees’) spend the grand total of 17 minutes steadfastly refusing to allowing the listener to settle into anything approaching a comfortable groove. By allowing their penchant for unpredictable arrangements and off-kilter experimentalism to butt right up against their precision-engineered chops and razor-sharp songwriting nous, WhoresWhoresWhores have crafted something absolutely incendiary.
Greg Elliott
http://www.whoreswhoreswhores.tk
COMPILATIONS
Various Artists
I Can Count Volume 1
I Can Count is a 18-track compilation of a myriad of sub-genres that could be loosely filed under Electronic and Beat-based. And very impressive it is too. Not just for the quality of the tracks, which sustain the quality threshold consistently between decent and excellent, but for the sheer scope and variety that the compilers have managed to assemble. Broad enough to open avenues to even the most cultured of listeners.
This really does have a bit of everything, from the slick R'n'B flavoured opener by Mica ft Taz, through the delicate stylings of Quip, to the ever-reliable orbital-with-guitars soundscapers Emmett, to the Donkey Kong on a Nokia brain-melt of the frankly bonkers David Sugar.
Not all of it will be to everyone's taste of course, but it's a compilation, so why should it be? This is a brave attempt to triumph diversity and eclecticism over playing it safe and the lowest common denominator, and it succeeds handsomely.
Picking out individual tracks for special praise seems to be somewhat missing the point, but it would be churlish not to mention that The Masons Are In Frizington by Knowl Bowie may well be one of the most lovely tracks you'll hear this year.
Whether you're an electro-aficionado exploring further, or complete beat-novice looking for a place to start, this is an essential purchase and one worthy of an audience significantly larger than it's likely to get.
Rob Paul Chapman
Various Artists
Growing From The Inside Outward -
A Spoonjuice Sampler
Spoonjuice Records is the brainchild of Rob Cohen and is designed as a showcase for a bewildering array of Sheffield artists. Eclecticism is the watchword here. Listening to this is a little like playing pinball with genres. Veering from the Beatley pop of Cohen's own Shatners Bassoon band to the Gypsy King Spanish of Danny Blackwell to the light acid jazz of Solar Powered Butterflies to longstanding local indie heroes Bhuna, it's impossible to pin down the nature of either this sampler or the label itself. This is not necessarily a criticism since it's an interesting and worthwhile experience and a nice change to the rather identikit nature of some labels. The intentions are admirable and the spirit obviously willing and overall this is definitely worth checking out.
Jack Tractor
http://www.spoonjuicerecords.com
SINGLES
Autokat
Dish Out/Get Off the Bar (Akoustik Anarkhy)
They’re infections little buggers these Autokat fellas from Manchester. These two tracks are both different and equally likeable. Dish Out gets off to a flyer and legs it through its 3min 56 secs. It sounds familiar on first listen although you’ll not know where from and it is a bouncy slice of choppy guitar indie with some nice harmonies and a catchy as hell chorus that you could quite imagine all over the radio daring you to dance. Get Off The Bar is a slower track built around a little guitar hook that weaves all the way though the song while everything else builds up around it and the singer sings “deep as you like, slip to a slide” and you get the distinct impression he’s not talking about white water rafting. This should come with a warning: It’ll get in your head. Cracking.
Owen Anthony
http://www.akoustikanarkhy.co.uk
The KBC
Not Anymore (High Voltage)
Much like The Coral or Kaiser Chiefs, The KBC have been running their own club night, Club Sandwich, in Preston for some time now.
It makes sense, for apart from gauranteeing themselves free entry, since there’s definitely more than a hint of the dancefloor in their sound. Think of a younger, shoutier New Order with more guitar anddancing with beer cans in hands and it’ll not be a million miles away. There are also similarities with thjeir contemporaries the Sunshine Underground. It’s a pretty exuberant sound and suggests that that the live show could be pretty good.
Joe Baxter
http://www.thekbc.net
Yes Boss
More Or Less / They Think It's All Over
(Dance To The Radio)
Most of us knew Noah before Yes Boss was a twinkle in his eye. He was, of course, the rather intimidating, borderline psychotic frontman of Baby Food, who would strut out into the audience, shouting in the face of anyone brave or foolhardy enough to make eye contact. That intensity remains in Yes Boss, albeit over a very different backing. Gone are any hints of punk or live instruments. It's all hip-hop beats and synthesised bass these days. And y'know what, it's all the better for it.
'More Or Less' is pure self-aggrandising, without being irritating, and mixes Gavin Lawson's aggressive beats and heavy bass with subtle synths and Noah's reliably witty lyrics. 'They Think It's All Over' features the infamous "brappppping" which became endemic in Leeds, and has spread as far as CD:UK. The track features lyrics from both Noah and Rampant and tells a tale of infidelity and football obsessed bloke over a synth heavy backing and sampled crowd noises.
Hopefully, the more we hear of Yes Boss, the more people will look at what Leeds has to offer once they get beyond guitars.
Tom Goodhand
http://www.myspace.com/yesboss1