Twombley Burwash - Grak

An album of tunes from a father/son duo melding Prog/Rock/PSY-Trance, Folk and anything else they could get their hands on. 'Derivative and quoting but soooo original' - a quote from a mate of mine - thanks Paul! Created in the back bedroom, or 'studio' as we refer to it, we wrote an album that we think sounds like nobody else but in which can be found lots of elements of the last 50 years of popular music. Our only criteria was that it had to be 'interesting' Mainly this meant me (Kevin) running round the room moaning and shouting 'this bit needs to sound like an elephant on a sand dune' and Bruce trying to bring me back to a version of reality which might actually sound like music. More French Horns! More Brass, More Strings - and power chords! Loads of drums please! Who cares that it's unmixable!! The album begins quietly with picked acoustic guitar and a love song with Buzzards, but rapidly develops into what we call Friendly Teapot Music - strings, drums, rock band, even a section with three mandolins and an octave mandolin - just to show our Irish heritage. The rest of the album builds on the opening track, taking in all genres and building up to the epic statement of A Sense of Texture. This is a 22 minute journey through a dreamscape of imagined and half remembered loves and memories. It is a complete palette of Twombley, and has everything from didgeridoo to mellotron, plus loads of guitars and pianos and some French horns. The idea of the album was to take the listener on such an enjoyable and challenging journey that, at the end, they'd need to start all over. It is hand-knitted prog, folks! Our drummer, Gareth Roberts is a veteran of London's West End and has played with such luminaries as Snakecharmer and was a member of the band in We Will Rock You. Bruce is a Psy-Trance writer and performs/record as Psy-Chi Kevin is an IT Bloke with a penchant for playing the mandolin and noodling endlessly on Henrietta (his cherished Gibson Les Paul) We recorded the drums and mixed the album in a studio in Bradford, West Yorkshire with a very accommodating producer called Roni Spazkowski, who pretended not to mind when our 150 tracks of audio (on A Sense of Texture) crashed the studio's Pro-Tools setup, and who just got on with it whilst muttering 'this is flippin bonkers' periodically.