12 days worth of writing and recording in one room of a Bristol studio with (believably) "no overdubs or repair" and Beak> burst into the listening world.
It will certainly not be everyone's cup of tea but one has to admire Messrs Fuller, Williams and Barrow's single-mindedness and determination.
The 12 pieces in this collection recall (for me) the sounds emanating from many a West London basement in the early 70's. This is not a bad thing; merely an indication of what to expect.
However, keep an open mind and kindly ears and you may well discover more than a little to love in this impressively honest project.
The waves of sound captured by the simple guitar, bass and drums formula of 'Battery Point' build to a curiously affecting climax. It is a big, big sound given the economy of resources devoted to the composition.
The hypnotic pulse of 'Blagdon Lake' has an inner logic which manages to be dark and fun at the same time.
The stripped-down arrangement of 'The Cornubia', (A Bristolian pub methinks!), with its strange, disembodied vocal, is music full of shadows and uncertainty posessing an almost medieval quality.
'Dundry Hill' is the stuff of nightmares. A discordant primal landscape full of menace.
Much of this ensemble's inspiration seems to have sprung from the countryside which surrounds them. Music of the hills, the woods and the soil. Persuasively pagan dreams and reflections. Not unlike their 60'/70's predecessors the estimable Third Ear Band, Beak> have made a worthy contribution to a musical genre which has all but disappeared.