On sequences. And a Gem Revisited: Steve Ely


To begin with, an apology, and an also an acknowledgement.

The apology first. On Friday night I was lucky enough to be the guest reader at the laconically-named Manky Poets,  in Chorlton. Great audience and quality open mic. A listening room. I would have done well to remind myself of what I wrote some time ago in a post about how to behave at an open mic. evening: thus

For readers. Reading

Rehearse. Rehearse your timings. Find out how long you have, and rehearse how many poems that is when they’re read aloud. Stick to it.

Well, I’d been told, and it was on the poster. Finish 9.30. Somehow I got it in my head it was 10.00. So, Copland Smith, I’m sorrier than I can say that you had to do the thing of holding up your arm and tapping your wristwatch, meaningfully. Mea maxima culpa. I hope I can come back some time. I’ll get the time right.

And the acknowledgement. I decided I wanted to write this post after reading one on Sequences by the indefatigable Roy Marshall   (here’s the link: https://roymarshall.wordpress.com/2017/03)/01/on-sequences/). As is his wont, Roy writes about the what and the how of the business -which is of more use to the prospective writer than my own tendency to to muse about the whys and wherefores. I’ve lifted a couple of chunks to illustrate:

First of all, a practical reason: “In my experience sequences can provide the writer with the feeling that they are rich in material; that they have ‘something in the bank’ and that even when not actively producing poems, there is a subject to return to an explore.”

I think the key notion here for me is the one that points to our need for a comfort blanket, the feeling that we have ‘something in the bank’ . Drawing on his own experience of putting his two collections together, Roy also reflects on the business of sequencing itself:

Once a number of poems have been written, the next challenge is to select poems and lay them out in the order that works best.  One absorbing aspect of assembling a sequence is deciding which poems to include and to work out the relationships between poems so they work together to their collective advantage.  While it is undoubtedly hard to write a batch of poems that maintain a consistently high quality, it is  important to try and recognise any weaker poems and remove them or risk weakening the impact of the whole sequence.

I like the reminder about the need to weed out poems that may fit thematically, but don’t stand on their own two feet. And also the reminder that you try to figure out the best order. I’d only add to that the idea that it can be like tweaking and fine-editing individual poems. You can often end up where you started, and reflect that that way madness lies. I know I’ve been open mouthed with admiration when poets describe how they lay hard copies of each sheet of a pamphlet or a collection out on the floor and move them around like chessmen. I can’t do it. I actually don’t know how I do it. Instinct. Something. But not a floor full of paper, which would bring on nightmare memories of double-checking 360 folders of English coursework for GCSE by setting them out on the floor at home. AAArgh.

I do know that one of my editors in particular has an amazing instinct/ear/eye/brain for spotting a glitch in the succession of poems. Ann Sansom (for it is she) shifted one poem in Much Possessed from near the beginning to the end. Where it belonged. I’d never have seen it. And she shifted one poem , about apples and the Fall of Man from 4th to 2nd, when it became apparent that it was in the voice of Lucifer (the voice of the first poem)…the thing is, when I wrote it, I didn’t know. When you put poems side by side, they begin to have conversations with each other and won’t do what they’re told. They take on an independent life. Which is as it should be.

I’m intrigued by that notion of an independent life. Somehow, poems will grow out of things that simpley will not leave you alone. I think of, say, Yvonne Reddick’s new pamphlet Translating Mountains which grows out of her father’s death in the Grey Corries, and her ancestor’s gem-hunting in the Alps. I think of Tom Cleary’s latest poems about his father’s trials in the Irish fight for independence, of Keith Hutson’s Troupers and his longstanding love affair with almost forgotten music hall and variety acts; of Kim Moore’s sequence on domestic violence in The art of falling, and her new poems about ‘All the men I never married‘…and of course, of Steve Ely (but more of that before long). Roy got me thinking of the way sequences appear or don’t appear in my own writing. Thinking about it I’m aware that I’ve created sequence about the death of my son, David; about my parents (my mother, especially) and grandparents; about a crofting community on Skye, about a village in Spain; about hospitals and about the Fall of Man. The thing is, I never set out to do any of it. Not like that. The poems got written over a period of years and then found each other’s company. I never set out to write ‘sequences’ about any of them, though theing is, once you’ve got, say half a dozen, you begin to wonder if there can be more. I have to say that in my case that’s the point at which I start to write bad poems.Because I’m forcing them in to being.

I’m also aware that quite accidentally I’ve written a lot of poems that feature birds. I know very little about birds. I can recognise them because my dad was a keen bird-watcher, and I suppose he taught me, but I’ve never set out to study or research them. And there has never been a reason to group the poems together simply because they have birds in them…probably because they’re not actually about birds at all.

I’ve set out, sometimes, quite deliberately to write sequences: one about a painter and his wife and his model and his paintings (think of Fiona Benson’s Van Gogh sequence in Bright Travellers)….I spent over a year reseaching and ended up with three poems. That should have taught me something, but I’ve since tried the same thing with Clearance sites on Skye, with Culloden, and (with a bit more success) the notions that famous statues may be able to speak…at least I had a proper purpose with that, one of experimenting with dramatic monologues, and trying out other people’s voices. In general, I’d judge them all relative failures, mainly, I think, because I was trying too hard.

They say you live and learn, but I’m currently battling away at an idea seeded at an open mic night…ostensibly a sequence about the Lofthouse mining disaster. It involves versions of God, Mrs Beeton, Mary Anning, flower pressing and the evolution of the planet. I suspect it will end in tears. And on the strength of one poem written in a workshop a poet I love and respect suggested I write a twelve poem sequence. I am already having nightmares about it.

So it’s a huge relief to turn to a poet who writes sequences with huge assurance, fed by phenomenal (as it seems to me) scholarship, research and absorption in contemporary political history, in the the world of birds, and in the heft and texture of Yorkshire dialect and its roots in medieval English. Welcome back, Steve Ely.

priory 5

When Steve was last a guest (August 2015)  I wrote quite a lot about landscape, about ‘knowing your place’. Particularly, I wrote about Englaland

Englaland isn’t edgeland. It’s right in the middle of England, the landscapes of farms and pit villages and power stations and their great white plumes of condensation, despoiled monasteries, forgotten castles, the remains of priories . It’s the landscape that D.H.Lawrence wrote about, and his loathing of the man-made England. Because pit villages are never pretty or picturesque in the way of, say, Pennine mill towns. But they are surrounded and inerpenetrated by an older farmed and forested England. Which is Steve Ely’s ground.

You can catch up on all that by following this link https://johnfogginpoetry.com/2015/08/30/knowing-your-place-a-polished-gem-8-steve-ely/

Time now to get up to date, with this poet who writes sequences..though, as we’ll shortly see, not just sequences. Since he was last here, his account of Ted Hughes’ Mexborough years has been published, as has his unnerving, chunky pamphlet Werewolf of which Sheenah Pugh writes:

“the poems in this collection which discuss individuals’ propensity to violence, how they control it and how it can be exploited by the state are extremely thought-provoking and memorable, and mostly not because of their often harrowing subject matter but because of the skill with which it is handled. The jackdaw approach to history, assimilating different peoples, events and eras, brings home, as nothing else could, our essential likeness to each other, and viewing our own thoughts, words and actions through the glass of the “other” is as instructive now as it was when Euripides used the prism of the Trojan War to condemn the Athenian invasion of Melos. I don’t think anyone could read “Inyengi” and not be, at least temporarily, more careful in their language, or “Spurn” and not wonder “could it happen here?”

I think that’s why Steve Ely speaks so directly to me in his collections, Oswald’s Book of Hours and Englaland. He reminds me of the jolt I got when I first read E.P.Thompson’s The making of the English Working Class, and Hobbsbawm, and The common muse, and Roy Palmer’s The Rambling Soldier, of when I first listened to Charles’ Parker’s radio ballads…especially The ballad of John Axon ….. and Tony Parker’s Red Hill (the story of a mining community).

breakfast 001

OK. What he sent me when I asked him to come back to the cobweb needs not a scintilla of editing. Steve..off you go.

Since August 2015, I’ve:

  • Run
  • Been out with the dogs a lot and got into confrontations with any number of landowners, farmers and gamekeepers.
  • Been birding in South Uist
  • Found a kestrel’s nest with two young-uns and been caught up in a tornado on the same day.
  • Published my biography of Ted Hughes’s early years, Ted Hughes’s South Yorkshire, with Palgrave McMillan.
  • Been involved in the organisation of the second Ted Hughes Poetry Festival in Mexborough.
  • Gotten myself a PhD – the guerilla-pastoral, anarcho-yeoman anarchism, Bakhtin, Gramsci, Kipling, Pound, Moretti and Kavanagh …
  • Started teaching creative writing at the University of Huddersfield.
  • Been appointed Director of the Ted Hughes Network at the University of Huddersfield.
  • Published a hefty (who knew pamphlets had to weigh less than 0.5 grams and be printed on point 4 font on a butterfly’s wings?) pamphlet, Werewolf, with the estimable Bob Horne’s Calder Valley Poetry.

In 2017, I’ll:

  • Run
  • Continue my guerilla-pastoral campaign against landowners, farmers and gamekeepers
  • Dig some holes
  • Get a third dog for my roster, probably a lurcher of some sort
  • Go birding in South Uist
  • Publish a book of poems called Incendium Amoris with Smokestack Books  (June)
  • Be involved with the third Ted Hughes Poetry Festival in Mexborough (main weekend 23rd –25th June)
  • Help facilitate the symposium, ‘Ted Hughes & Place’ at the University of Huddersfield, with my colleague James Underwood (June 15th –16th)
  • Be delighted and excited to welcome Dr Heather Clark to the University of Huddersfield as International Visiting Scholar in June. Heather’s biography of Sylvia Plath will be published in 2018 by Knopf.
  • Write some excerpts from a mythic autobiography
  • Grow a some dangerous plants on my occult allotment
  • Publish a book of poems called Bloody, Proud & Murderous Men, Adulterers and Enemies of God with High Window Press (December).

I’ll also be keeping it real – on the street and in the ’hood. (he adds)


Unlike the pigeon, pursued onto my window by the sparrowhawk which filled my garden with feathers,there’s not the slightest suggestion that Steve will be brought up short by the unexpected.He’s sent me two poems to share. They are poems with birds in them. They may not be about birds.

How great is that darkenesse

Ring road glazed in lights.

Buffering macula, dampened panes;

muted YouTube central heating.

Cold coffee and donuts,

gastro-oesophageal reflux.

The heart’s a torn up map, voyaging

blind through doldrum darkness.

Through muffling glass

high greylags trumpet,

skeining wild and north.

I reckon that if you had to visualize the first circle of hell, you’d do worse than think of a ring-road or a motorway service station in the dark early hours. It’s a place for a dark night of the soul, being itself soulless in its unnatural light and much-breathed, centrally-heated air, its windows glazed with condensation. An edgeland place, neither here nor there, but between real places and lives. The sense of spiritual displacement is concentrated in that phrase ‘the heart’s a torn up map, voyaging blind’ and I love the accuracy of ‘doldrum darkness’…the doldrum of becalmed sailors in the middle of a great ocean. And then the poem expands, out and up and away with the ‘high greylags’, migrants moving along known instinctive routes to where they have to be, ‘skeining wild and north’. ‘Skeining’ is lovely, being at once a shape and a sound, a call. And a great word to end on: north, resonant with literature and history. No accident that Heaney chose it for the title of a collection


The second poem shifts us north. If you follow Steve Ely on Twitter or facebook you’ll be familiar with the posts about bird life on Uist. Here’s a poem that explains the love of it all.

No man can serve two masters

Walking that kelp-wrecked,

Hesperidean strand, notes

sanderling, turnstone, purple sand.

Shags hard and low across the surf swell,

crab boat’s outboard drone.  Hauled pots

and crates and nylon holdalls,

pagurus, AKs, shrink-wrapped keys,

the freedom of the golden isle

where phalaropes flirt

and red-throats flume and wail.

Norman MacCaig country, this…not geographically, but spiritually and linguistically..where shags fly ‘hard and low’ and small birds work busily on the low-tide wrack. It’s a moment to rest in.

I’ll know whether I’ve got it right this coming Tuesday night at Huddersfield University, when Steve is leading a writing workshop built around Ted Hughes’ Gaudete. He’ll certainly not leave me in doubt. Thank you anyway for being our guest, Steve Ely.

If you don’t own his books you can put that right. The detail of all of them, as well as of the other poets’ work I’ve mentioned at the beginning, follows. See you next week when we’ll be having a new guest. It’ll be great.

Steve’s books

Oswald’s Book of Hours   [2013 Smokestack Books] £7.95

Englaland                             [2015 Smokestack Books] £8.95

Ted Hughes’s South Yorkshire: Made In Mexborough [2015 Palgrave MacMillan ]

Werewolf                             [2016 Calder Valley Poetry ] £7.00

and others I’ve referred to:

Kim Moore The art of falling    [20125  Seren] £9.99

Yvonne Reddick  Translating mountains  [2017 Seren] £5.00

Keith Hutson Troupers [2016 Poetry Salzburg]

Roy Marshall The great animator [2017 Shoestring Press] £10.00

Tom Cleary  The third Miss Keane [2014] Happenstance] £4.00

Elixir: a polished gem (4) Lindsey Holland

Crazy water 2

There’s a great Tom Russell song. Mineral Wells. Like all his best songs, it tells a story…in this case that of the Fat Boy and the Filmstar. Both down on their luck. She sleeps in the backseat of a Cadillac on a backstreet in the Hollywood Hills with her box of old photographs. Fat Boy was at one time a film critic. She’s played Shakespeare on the London stage. He’s seen all her films. He wears grey overalls, weighs 400 pounds. It’s never going to be a marriage made in heaven. But they can dream:

She told him of a fountain of youth
In the hot Texas earth
It’ll heal and renew us
It’s somewhere west of Fort Worth
And she met Errol Flynn there
In the Crazy Water Hotel
And they danced down the street
In the moonlight of old Mineral Wells.

And off they go, Fat Boy and Filmstar, Greyhound bus, all the way to Texas to find ‘the fountain of youth’s all dried up’. It’s a country song. What did you expect?

crazy water 1

Where’s all this going, you may be thinking. Bear with me. I recently worked out that me and two other poetry-writing friends have thirty four grandchildren between us. And, briefly, just fleetingly, I wondered if I was getting old. Because I don’t feel old. I don’t feel essentially different from when I was a teenager. Just as foolish, loud, over-enthusiastic, given to unnecessary swearing; still hooked on rock ‘n roll (never drugs; sex something of a distant memory).

Feeling young is just feeling alive. Poetry makes me feel more and more alive. Writing it, and writing it in the company of others; workshops. Reading it and performing it. A mic. and a room full of people. And the essential ingredient – young poets. I gave up on folk clubs and folk festivals partly because the poetry I wanted to perform simply didn’t fit, but also because I felt as though I was surrounded by people who embraced ageing in the guise of real ale, weight gain and an absence of dress sense. The fashion of choice in your folk club, it seems to me, is the fleece. And despite the likes of Kate Rusby and Seth Lakeman there’s a notable absence of youth and the youthful. Course, I’ll be told it’s not like that. It’s not like that at all. But I can only say how it seems, and if your experience is other than that, then good luck.

I realise, now that I’d better qualify that phrase ‘young poets’.  Because I have no doubts they don’t think of themselves as ‘young’, and may well be indignant if they read this. Because some of the ones I think of as young are as old as my children. Come to think, that’s probably why. And one of them who is incorrigibly young is actually 75. It’s about vitality. But still. Who are they, these young ‘uns who raise my spirits and make me raise my game every time I meet them?  I met Luke Yates recently at a Poetry Business writing day. He bowled me over. And then was one of the winners of the Poetry Business Pamphlet Competition. Wow! Yvonne Reddick who reads with a rare exactness and precision, who writes elegant, researched poems that stick in the mind. Liz Venn who’s unafraid of the coexistence of poetry and science. Julie Mellor (same age as my daughter) who constantly startles and excites with her range of reference. David Tait, who I’ve never met personally, not to chat to, and whose poetry makes me feel untravelled and gauche. Maria Taylor- editor, published poet (who I’ve reviewed) and mother of twins, and also absurdly young. Gaia Holmes, whose oddly surreal and passionate poems with their combination of wit and fragile vulnerabilities are a continuing delight. Kim Moore. Well, I wrote my paean of praise/fan letter about Kim a couple of weeks ago. Clare Shaw, whose readings lift the hair on the back of my neck. It strikes me that many of them are teachers, or work in one way or another with young people.I feel blessed to know them all, and their enthusiasm and their passion and their zest. Elixirs. It’s the company you keep.

So that’s the context for this week’s polished gem: Lindsey Holland. I first met her (where else?) at The Poetry Business in Sheffield. She stuck in my mind as impossibly small and burdened. That was probably because of the out-of-scale backpack she was lugging about, and which appeared to be full of books. Maybe it happened to coincide with the fact that I’d been recently reading Cheryl Strayed’s ‘Lost’ and anyone with a backpack would seem waif-like. Every time after that, the backpack would come along with her…until last week at Poetry by heart in Leeds for the launch of Kim Moore’s collection: The art of falling. No backpack, this time, but with a teenage daughter who seemed not much younger than her.

So much for appearances. What was more important was the workshopped poem she brought to that Saturday writers’ day last year. It was one of those poems that immediately grab my attention because it was skilful and crafted, because it involved repetitions ( and therefore, elements of a list), and because the repeated element was the word ‘Because’. I’m a sucker for any sentence that begins with ‘because’ because it makes you wait. It happens that the poem was a list of reasons for a particular falling into love. And it had memorable images, like a shore ‘where starfish clap at waves’. That ‘clap’ is so exact, so surprising, so right. As is the sailor who ‘learnt to roll / with the buckle of wood over water’. You can’t improve on that ‘buckle’. Anyway, it persuaded me to ask her if she had poems to sell, and I bought this:

lindsey 1

I was surprised by a cover that seemed to come out of early 1970’s graphics for a science fiction story. Even more surprised and delighted by the poetry. The workshop poem was comfortable (for me) in its historical/biographical narrative. A lot of the poems in ‘Particle soup’ disconcerted me as I read them on the Supertram on the way to Meadowhall to pick up my my car. Words I’d never encountered before. What was ‘biopoeisis’? What’s a ‘mandelbrot set’? Who was this poet with an unfeasibly large backpack who could invoke a strangely sleazy transgressive world in a stanza like this from ‘The mourning before’ ?

‘On humid nights, we’d get drunk on Leffe

until the cockroaches’ speed seemed ridiculous

but not enough to beat him’.

Well,now I know, and I’m happy to know it. Lindsey Holland was born in 1976, [yup…young] in Ormskirk, Lancashire. Her poetry has appeared internationally in magazines and anthologies and her first poetry book, Particle Soup, was published by the Knives Forks and Spoons Press in 2012. She’s recently finished writing a pamphlet and she’s currently working on a full collection of poetry — both of these comprise poems based on her family history. She was Highly Commended in both the 2014 Café Writers competition and the 2015 Wenlock Poetry Festival Competition, shortlisted for a Cinnamon Poetry Collection Award in 2011 and commended in the Cheltenham ‘Buzzwords’ competition in 2013. She co-edits the new online magazine The Compass and she’s the founder of the network North West Poets. She edited the anthologies Sculpted: Poetry of the North West and Not on Our Green Belt and she was Poet in Residence at Chester Zoo in 2014. She has an MA in Writing from the University of Warwick, where she was also part of the Heaventree Press team, and she currently teaches poetry at Edge Hill University. She ran her own photography business for several years and won numerous awards for her photographic work. Her interests include dog walking, nature, psychogeography, genealogy, singing and metal detecting.

It’s the photography business that throws me. When did she have the time? That and psychogeography. I had no idea what it was, but now I do, I understand better the damaged and slightly dangerous urban landscapes where some of the poems of Particle Soup  live; the business of the sometime playful exploration of built-up places, and sometimes the business of trespass. I think that both elements inform this poem I particularly chose from the collection:

The Trails are Mostly Invisible
It’s not enough to know of the castle,
plan a train, walk past that kid with the plump tongue
licking ice cream,
find the moat bridge, garrison, museum, see
the crawl space where
men ghosted bodies.

The walls are lying. They cover themselves. We
climb stairs, delve and probe,
read the blurbs and stop at photographs.
This can’t be that place we constructed.
White paint spreads its skin around the rooms,
there’s a rose bush in the courtyard,

and you and I are lost in here. It’s not enough
to pick like archaeologists; cracks
are filled and plastered, even keyholes
peep at nothing dirtier than brooms.
The clocks don’t blink,
the coffee shop is closing

but we can guess their path: with dyed clothes
and fake papers, hidden cash, they must have run
across the field at the back where steel gates
warn of a pylon. Wild grasses,
brambles, nettles are shoulder high
and only an escapist would think

to climb and drop, tear a path.
We might be treading their exact route, making
their decisions. The soil records
our feet as we scramble. I look back
and the castle’s windows flame in the sun,
from this hill, again, repeat.

There are so many untold stories in this poem, so many backstories to guess at and speculate on. Angela Topping talks about the collection’s invitation to mysterious journeys. Luke Kennard highlighted the way her poems invoke and explore non-existent spaces between love and fear. This poem helps me to understand what they mean. Nothing is certain  (this can’t be the place we constructed), and everything is exact, precise. ‘Keyholes peep at nothing dirtier than brooms’. Dirtier? How? Why?   I have no idea where I am or who ‘we’ are. Or perhaps I have too many ideas. In either case it’s unsettling.

Three years on, Lindsey’s poems are moving, as she says, into explorations of family history. I’m intrigued by the next poem that she’s sent me, because it seems to elide the threatening urban edgeland, and the lives of the past. And it has an urgency and energy that makes me want to chant it.

Things She Learnt on Gomer Street

Be careful not to sing before 9am on Sundays
Be careful not to bother Mrs McFee in the washroom
Be careful when your father has gin breath
Be careful of gin
Be careful to stitch your own holes and make patches
Be careful when running not to knock the gentlemen’s canes
Be careful with your tongue
Be careful to cover your bruises
Be careful around your mother when she coughs up blood
Be careful around blood
Be careful not to get your dress soaked and catch a fever
Be careful with the flour
Be careful at the gates to the dock where the Devil lingers
Be careful of pickpockets better than you
Be careful of seafood
Be careful of no food
Be careful of your father, always of your father
Be careful when pissing in the shadows at the timber yard
Be careful with the sugar
Be careful not to lose that purse with the farthing
Be careful of the Queen Anne
Be careful not to yelp

It’s an awful catechism for a child, this, and an utterly realistic one. Life is beset with threats and none are greater than another. The Devil, a prohibition on Sabbath singing, the flour, the blood, Mrs MacFee, the need never, ever to show fear or pain. Be careful not to yelp. I love the way the lines loop and link and reinforce each other. It’s as though you could take random lines from Henry Mayhew’s children, his mudlarks and watercress sellers, and cut and paste them into a chant children could turn a skipping rope to. It’s a lot cleverer than it looks. Even so, I want to end with a poem that’s gentler, or, at least, more full of the possibilities of love. It’s the Third of May. It’s too cold to be out, not even to put in bedding plants or pot up tomatoes. It’s cold enough for casseroles and stews. Here’s a poem to warm us up. like the one I heard in a workshop last year, it has a sailor in it. And it was Commended in the Buzzwords Competetition 2013.

He called you his chou-fleur, for the pleated hems
and frills you stitched in the palpitating light
of a porthole. At twenty-two, in half a gale

you barely tilted. When he put up bulkheads
you’d slip up to the jib, your tiny feet concealed
by layered folds of ochre. Near to port,

your headscarf’s tartan slumped across your shoulders
and black-gloved hands small birds on the rail,
you’d watch for gulls. ‘There’s too much machinery’

you murmured once, your jaw against his collarbone
and warm limbs heavy as you entered the troughs
of Irish waves. ‘I wish we were kittiwakes

with nary a struggle but sea and shrimp’. At harbour
you waited by the gates. Discharging cargo
bought a couple of hours. You’d stray down vennels

to streets that dripped with whisky and tobacco,
the judder of engines, an airborne oil
that soaked through fabric, that licked his skin.

Isn’t that exact and lovely, the dance of refracted light off broken water, that ‘palpitating light/ of a porthole’ ? And what a surprising verb it is in that last line. ‘Licked’. So here we are. Thank you all you young ones who have something to say. I don’t care how old you think you are. And thank you Lindsey Holland for letting me share your poems. Thank you to anyone who may be reading this.

Now. Cold and wet or not, someone’s got to get out and shout for my beloved Batley Bulldogs, and I shall now, on this May Sunday swaddle myself in thermals and gloves and fleeces. Next week we’ll be having nothing but The Best (of……). see you then.

* Mineral well….this song ( Russell is accompanied by Katie Moffatt on this one)  is on the 17 track album The long way        around. [Hightone records]. Buy it. You won’t be disappointed. It’s got the wonderful Andrew Hardin doing amazing things on guitar. Listen especially for The angel of Lyon.