Here is the text of a review of “Penhayl” in R2 Rock’n’Reel Magazine - Vol. 2 Issue 29 Sept/Oct 2011 - p. 75:

4 stars (out of 5)

“This is a sneaky little album, beginning unobtrusively in slightly folky territory – nice, captivating vocal from Neads and sensitive acoustic accompaniment by main song writer Prince – and somehow becoming absolutely riveting by the halfway point. I've tried listening closely to see where it happens, but it never works... I find myself thinking what a fine version of Beth Orton's “Devil Song”, when before I know it, I'm gently rising and falling on the lush waves of sitar and shruti box that underpin “New Horizon”.

It it weren't a cliché, this is the sort of music you'd maybe called psych-folk, particularly the expansive, celebratory closer, “Keepers of the Light”, on which whispered vocals, flute and chunky electric guitar add a decidedly cosmic edge. Rather than jumping on a patchouli - scented bandwagon, however, this carries the same conviction as the early 70s pioneers, sounding like it grows from the same compost as Fresh Maggots or Trader Horne.

A cover of Martha Tilson's “Seagull” is a little insubstantial amongst the rest of the material but the original songs are English pastoral acoustic rock of the highest order, and Anthea Neads is certainly a refreshingly distinctive vocalist.”

Review Written by Oz Hardwick.


Here is the text of a review of “Penhayl” by Allan Wilkinson at the Northern Sky online music magazine. Original webpage here:

“The follow up to Anthea Neads' debut solo album JARS OF CLAY, sees ex-Sham 69 bassist Andy Prince take on a more prominent role on PENHAYL, the title taken from a cottage in Cornwall where the album was recorded, once again providing bass, but this time promoted to equal share of the title credits. The duo's mutual interest in the music of the late 1960s and in particular the psychedelic era, provides an open canvas upon which to explore. Having a bassist as a mutual collaborator means that the bass is very much to the fore, which gives the songs that unique Sixties feel, not unlike Pentangle or the Incredible String Band.

   

Produced by Matt Tweed (Spacegoats/Martha Tilston), the eight songs comprise a handful of originals, a couple of co-writes and one or two covers. If Butterfly eases us into the album, touching on 1960s hippydom, it is with the two adventurous and epic songs that the record forms its backbone. The sprawling New Horizon, which features Tweed's sitar together with Anthea's droning Shruti, re-creates a sound that once filtered out of bedsit doors and attic windows during the heyday of late 60s and early 70s psychedelia, often accompanied by strange and exotic aromas, which would often be fruitlessly covered up with the smell of incense sticks and patchouli oil.

Likewise, Keepers of the Light, which closes the album, based on a poem by Glastonbury-based poet Amanda Gazidis, also creates that epic feel, with an arrangement that encompasses both a taste of the psychedelic rock music of the time, exemplified by bands such as the Jefferson Airplane and Country Joe and the Fish, but also incorporates, intentionally or unintentionally, the iconic trance-like jazz riff of John Coltrane from A Love Supreme.   

As well as Anthea on guitar, flute and her own distinctive vocals and Andy on bass, percussion and kaoss pad, Paul Adams provides violin and Marc Box plays 12 string guitar and percussion. PENHAYL has no pretentions of being anything other than a heartfelt homage to the music of another era, imbued with all the optimism of the much missed Summer of Love.”

  

Allan Wilkinson

Northern Sky

Here is the text of a review of “Penhayl” from Fatea online music magazine, written by Bob Meyer. Original webpage here:

“Anthea Neads and Andy Prince’s album "Penhayl" harks back to the psychedelic folk of the late sixties and that’s a good thing!

I really like Anthea’s last album "Jars of clay" and bringing Andy’s bass forward has worked very well on "Penhayl" as he is a very cool bass player, he has played in many bands and spent long time in the punk band Sham 69, Anthea has a great voice and is one of my favourite modern female folk singers.

When they came on my radio show a while back I can honestly say I have never seen two performers so in love with each other and this make their music so warm and connected even on the covers like Beth Orton’s "Devil Song" their make it their own.

The track I play the most at home and on my radio show is New Horizon it’s over seven minutes long and is pure hands in the air watching the sun come up over Glastonbury Tor out of your mind on acid folk and I love it.”

Bob Meyer

Bob Meyer hosts Bob's Folk Show on Tuesdays at 9 on www.radiowey.co.uk

Here is the text of a review of “Penhayl” from Oliver di Place music blog, written by Darius Rips. Original webpage here:

“Anthea Neads sings in a beautiful English folk soprano. She has a light tone, but the emotion of each song comes through wonderfully. Her musical partner here is bass player Andy Prince. Usually, a bass is heard in the background, as a supporting instrument. Not here. Prince is a melodic player, and the tone he gets from his instrument makes it a second voice, intertwining with Neads to make a greater whole. There are other instruments here, mostly for color, but Neads and Prince are the stars. English folk and folk-rock are the foundations here, but Neads and Prince are unafraid to go adventuring from there, and the results are well worth it.”