Tempus Fugitives by Peter Ulrich Collaboration

Peter Ulrich, well-known for his gift of bringing variety to his albums, and producer Trebor Lloyd have drawn in a wealth of talented artists to create a soundscape that really draws the listener in. The style ranges from medieval to contemporary, and I found it hard to choose a favourite track, though I particularly love Dark Daddy and En Bleu.Wonderful music, and the fabulous artwork and booklet are an additional bonus.

First I think it is worth mentioning the name Peter Ulrich Collaboration is a bit misleading (as well as being an unwieldy mouthful). The songs are credited, it seems, to the actual songwriter first, and then tacked on are after are Lloyd/Ulrich. Lloyd is the producer and I'd guess the driving force behind the project, so maybe it should be the Trebor Lloyd Collaboration. On the other hand the first name listed on nine of the fourteen songs is Anne Husick, so maybe it should be the Anne Husick Collaboration. Peter only appears to have brought three songs to the project.I'm sure Peter played a part in every song and held a senior role, but I think to name the project after him is a case of playing off him having the highest profile of the participants, but the result for me is a watered-down product. I really like Peter's first album Pathways And Dawns, which I came across maybe in 2004 simply because I read of Brendan Perry's involvement, and I didn't know what to expect (I was half-expecting it to be dark and heavy-going like Elijah's Mantle but no, it was charming and quirky and I am very fond of it). I snapped up Enter The Mysterium when it was new, and I came to this release hoping for lots of Peter. Lots of Peter it isn't. Yes it is evident he has added some elements (mostly percussion) throughout the album, but on some songs his presence isn't really felt. There are several different singers, some of the performances are nice, though there is a wince-inducing sequence of three or four songs in the middle that I find are best-avoided. There is a ramshackle quality throughout that somehow reminds me vaguely of the spirit of The Incredible String Band but without the cohesiveness at the core. There is a wealth of unusual instrumental textures, which is great, but the overall thing often seems a bit undercooked, and that continues with the promo videos, ads and cd booklet, with its confusing credits, (what a daft way to list the players, but it's in keeping). There is no feeling of synergy with this collective, just musicians coming and going through a revolving door.So, the three songs by Peter, what are they like? When they arrive the sun comes out because it's Peter and he's why I bought this album, (no offence to the often stronger other singers). His songs continue his journey that echoes his Dead Can Dance foundation and world and early music influences, along with his Eno-ish voice and playful lyrics. The funky Drum The River reminds me a little of The Wolfgang Press (whom he also worked with), it would have been intersting to hear how that turned out if it had been recorded at Quivvy Church instead. Migrators is more mystical, Peter just sings backing vocals this time, but it would have been totally at home on Enter The Mysterium. Zanzibar is really quite playful, quirky and has a sweet tropical feel, that puts a smile on my face, another catchy song. His three songs definitely sound like a continuation of his thing, it'd be nicer if there were more.There is an over-arching concept of a steam-punk nature, which I am sure Peter is on board with, and I don't have a problem with it, but the sense I get is Trebor is running the show and Peter is one of the participants, therefore it should be framed as what it is.