Liverpool Sound and Vision Rating 8.5/10

Time well spent in the pursuit of happiness, or indeed creativity, is time that can live forever. It is the mark of humanity that we wish to see something of our mind live on once, the capacity to understand all that we may utter into the wind could catch on, that our anger at the insanity of those deemed responsible enough to have a nation’s best interests at heart is caught up in the sound of our voices growing louder, beating against the chest of other’s psychosis and ramblings, acute and serious, perceptive to our own tune and the right we have to stare with wonder that these people are even allowed to tie their own shoe laces, let alone be in charge.

Psychoacusis, a word, a feeling joined together within an artist’s mind at the sense of injustice and honest fear of what surprises might be lurking in the hearts of some people, the intuitiveness to rebel against this rising chatter of nonsense, but an action taken with openness and concern that they have no choice but to be critical, damning and yet retain their own sense of dignity, the poise to which they have earned great respect for.

Some artists like to place ambiguity into the muse, they see it as a responsibility to the audience that they are only there to act as a guide, just a signal pointing the way. For Jonathan Markwood’s Hoo-Hah Conspiracy, the Muse is all consuming, regardless of the subject at hand, there is no whisper to be heard, just a thunderous roar wrapped in the silky tones of a musician stating his case, and with a stash of medical supplies upon his person to nurse society’s open wounds the best he can.

There is no doubting the virtue and style to be found on the album, an undisguised anger but with the pleasantness of spirit that can always be found within Mr. Markwood’s deep heart, no matter what stage or artistic groove he is currently immersed within. Across songs such as The President, Clare, Jumping Off Balloons, Look At Me, Growing Apart Together and Marlana Maid of Plastic, Jonathan Markwood’s roar is precise, challenging and deft, a mix of emotions that earns the trust of the listener and does not stop asking questions even when the album has been placed tenderly back on the shelf.

There is after all an eye that will continually look to where the music has been placed and will urge the hand to reach out for Psychoacusis once again, to hear the sound beat down the door and revel in the appreciation that someone else thinks like you.

Jonathan Markwood’s Hoo-Hah Conspiracy release Psychoacusis this May.

Ian D. Hall