So much has already been written about this album and artist over the last few years that my trite, amen's input will do very little to add any more magic to what has become an essential part of any collection. However, what I will say, is that this record genuinely connects with me on an almost child-like level. It feels like BGC has the key to some cosmic puzzle, how to compose beautiful, simple, uncynical spiritual music without the need for deep theory or dogmatic sentiment; these songs are for genuinely for everyone, Ever New and Sunset Village feel like they were written just for me, and for the exact times I need a nudge of warmth or support. Seeing a band of absolutely devoted and loving musicians back BGC at Le Guess Who? a couple of years ago was a moving experience for the capacity theatre audience, barely a dry eye in the house as these small, odd pastoral ballads hit us like monolithic festival anthems. I can't recommend this record highly enough. It sits two-fold in my collection, knowing that my initial copy will wear out in years to come.
Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought-after albums of folky jazz in the key of Joni. But it was this album, originally self-released on cassette in 1986 that really caught our attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place.