"Lightgarden were a triumph at The Village Pump Folk Club. A wide variety of music and instruments all played brilliantly, some interesting facial expressions and dancing styles plus some awful jokes. Rob managed to play a mandolin with a string missing and still make it sound good. The Mongolian overtone singing is amazing! Hope they come back to see us again."
HiFi News and Record Review - Johnny Black August 2018

HiFi News and Record Review - Johnny Black August 2018

CD Review: "...and there's a Silver Stream Cascading", September 2018

The core of Bath-based LightGarden is in essence the creative musical partnership of two kindred spirits, David Moss and Masha Kästner, latterly expanded, by the addition of Dave McKeown (of The Joyce Gang) and Rob Colquhoun, to make a four-piece outfit. All four musicians have been active variously on the folk, jazz and rock music scenes for some years. Singer and musician David Moss is the guiding force here, and those with long memories may recall him as one third of the gently iconoclastic and wildly inventive North-Yorkshire-based trio Banoffi for close on a decade from the late ’90s through to 2004. David’s hauntingly beautiful and individual voice takes legitimate centre-stage in the sound picture – rightfully enough, since the album’s six songs are all his own compositions – but when chanting overtones it’s deployed as an additional, fascinating quasi-instrumental colour. The unique LightGarden instrumental complement provides an unusually varied and mesmerising sound, balancing David’s fiddle, viola, bouzouki, mandolin and mandola with Masha’s harmonium, piano and organ, Dave’s clarinet and sax and Rob’s acoustic and electric guitars, while guest musician Jacob Myles Tyghe adds bass to four tracks. The uncluttered and finely registered recording hands out the spotlight or opens out when required to reveal delightful and unexpected textural subtleties, while always keeping the basic elements firmly in focus for the listener.

Although containing recognisable LightGarden qualities and stylistic hallmarks, notably those stemming from David’s own personal musical identity and Masha’s delicately supportive augmentation, this new album is quite different from its predecessor, 2009’s more intimate and largely ruminative Travelling Light. But there’s both continuity and adventure in its own original and special brand of acid-/psych-folk, which once again encompasses a naturally eclectic range of inspirations emanating from all manner of world folk musical traditions (albeit primarily Celtic, Eastern European, Middle-Eastern and Oriental), cultures and timelines. In this regard I’ve always found LightGarden and its “ancestor” Banoffi to embody the positive and encouragingly experimental values and virtues of early-to-mid-period ISB and other trip-folk-underground acts like Forest and Tea & Symphony. At the same time, though, LightGarden’s music is very accessible, and not just on its own terms, being both richly melodic and convivially life-affirming and exhilarating.

Opening track Bluebells (a reworking of a favourite Banoffi number) is a prime example of the highly evocative and slightly dreamy side of LightGarden, sporting idyllic rustic-pastoral atmospherics, and although the musical ambience seems to carry through into Shifting Sands the darker questioning tone of the lyric seems to reflect the passage of the intervening two decades somehow. Old Red Rowan takes us more into the realm of jazzsome folksy homily-cum-spiritual (closely matching its philosophical lyric), whereas Special Wine positively sways with romantic obsession and an eerily woozy wordless vocal before yielding to a deft guitar solo. The eight-minute eastern-inflected extravaganza Sophia harks back to Banoffi mode, but also incorporates ethereal overtones, sinuous clarinet arabesques and pulsing bass within its yearning, plangent soundscape. The softly intense, quiversome Away, ostensibly an address to a child (perhaps), is a bit of an enigma, but an intriguing and arresting one (complete with a disturbing childhood-memory carousel-interlude); it literally takes the breath away, and I’ve had the track on repeat play.

The album’s four instrumentals range pretty widely too, from the limpid, pensive miniature Walking In The Dark (its rippling mando-tones put me in mind of Dando Shaft and baroque arpeggios) to the almost onomatopoeic jazzy piano-and-sax improv of Summer Rain, the aromatic abandon of Russo-middle-eastern hybrid Minka and the charming triple-time vignette San Benedetto that pairs the timbres of mandolin and church-organ rather in the manner of an episode from the ISB’s Be Glad movie soundtrack, with the backdrop rounded out by a viola counterpoint that eventually increases in prominence before reaching an apotheosis in a Mike Oldfield-style guitar solo.

As if LightGarden’s wonderful music were not enough, … the disc is most attractively packaged, with design incorporating reproductions of paintings mainly by David himself and presentation including booklet giving full lyrics and credits. So… And There’s A Silver Stream Cascading … is one of those rare albums that scores maximum points for its enlightened, open-minded music-making and its deeply joyous invocation of the magic powers of fresh invention.

David Kidman - FATEA

Live review, Bath Fringe 2010: LightGarden

...what followed was a seriously magical set of original acoustic music; captivating throughout. Their absolute confidence in their material and equally strong commitment to performance drew the audience into an intimacy well-suited to the music. Each song’s powerful simple combinations of strings and organ underplayed their elusive and personably poetic lyrics in a way that recalled the early Incredible String Band, not least for David’s fluting folk-tenor voice and overall sense of hippy seriousness. This is after all a man who can say: “I’d been Mongolian overtone chanting with some Hare Krishnas at Glastonbury festival” and make it sound everyday. Those overtones were an astounding ingredient in themselves, effortlessly weaving an ethereal dimension into the music. They were especially effective when Masha was standing at the church’s massive organ pulling out the stops to make a Laurie Anderson drone while intoning ancient Persian poetry. This wonderful and unique performance deserved starlight, a flickering camp fire and at least another fifty people but, nevertheless, lacked nothing at all.

Tony Benjamin

CD review "Travelling Light" - The Link

David Moss (ex-Banoffi) was a PRS Foundation ATOM award winner recently - a prestigious annual award which celebrates and rewards the best "originators of music" working in the UK. And this album from LighGarden is the result. Dave plays Bouzouki, Mandolin, Fiddle, Viola, Cello and Guitar, Masha Kaestner, from East Germany, features on Piano, Harmonium, Church Organ, Piano Bass, Accordeon and Chimes. Both provide vocals and 'vocal overtones' - extraordinary throat singing where two notes are produced at once: a drone and the flute like harmonics above - an ancient Mongolian method used for healing and meditation. Unless you witness LightGarden performing you'd be forgiven for thinking this extraordinary sound was produced through use of some electronic effect. Steve Blakeburn contributes Dumbek and percussion on 3 of the 10 tracks presented on this new album. LightGarden's influences are wide ranging - from celtic timelessness to Eastern Europe to the Middle-East to North Africa. Musicianship of a very high order. "A journey of the heart, towards the heart; a jouney back home." This is an outstanding album and a timely reminder of the magic inherent in the production of music. More info at https://www.facebook.com/pages/LightGarden/149417618468034?ref=hlwww.myspace.com/lgarden with streaming possibilities or www.reverbnation/lightgarden or getting to chat to LightGarden on Facebook. The 8 minute final track is taken from original text by Jalalud'din Rumi, translated by Shahram Shiva from "Rumi: Thief of Sleep". Exceptional. - Pete Bell

CD review "Travelling Light" - Stirrings

“What music is this?” will be the question on many lips on hearing this magical and unusual disc. It’s not an easy question to answer, for it could come from anywhere and yet comes from everywhere – folk music and culture (both acid- and of Celtic and English traditions), interlaced with world sounds and found sounds in a compelling and unique combination; both of our time and of antiquity immemorial. LightGarden is an eclectic new duo comprising David Moss and Masha Kaestner: those of a certain persuasion will fondly recall David as a guiding force behind fab Whitby-based trio Banoffi, who called it a day a few years back, and he’s now re-emerged from the art world to make sweet music once again. David’s ultra-distinctive soft and melodious voice and stirring instrumental technique (bouzouki, fiddle, mandolin etc) form the primary signature of LightGarden’s intriguing textures, underpinned and enchantingly enhanced by Masha’s keyboard work, drones and florid embellishments (harmonium, piano, church organ) and occasional voice (gently earthy, with shades of Björk or even Nico but not as deeply sinister)........Experienced live, LightGarden are both hypnotic and uplifting: they create an intimate, almost confessional ambience and a constantly intriguing spatial tapestry of musical delights; and, while no CD can ever replicate that direct intensity, Travelling Light’s ten tracks give a pretty fair idea of the duo’s repertoire and world-view, while also affording them the opportunity to experiment with some creative multitracking and layering of sonic textures...... I must mention that a key element within the uniqueness of the LightGarden sound is that of overtone singing, an ancient (Mongolian) vocal technique that produces an unearthly, weird and totally wonderful sound, a harmonic drone that (a) once heard can’t be forgotten and (b) you’ll either love or hate… it contours perfectly with the sound of David and Masha’s instruments and voices, and its glacial, piercing intensity is both enervating and curiously soothing. I do hope I’ve managed to convey something of the special quality of LightGarden’s music: enough to encourage you to investigate with an open mind their brave, subtly sensual and inspiring music that determinedly inhabits its own unique space." -  David Kidman

CD review "Travelling Light" - Acoustic Mag.

A former member of Yorkshire folkies Banoffi, David Moss has been a regular on the British scene for years, whether with a band or on his own. LightGarden, his latest venture, sees Moss team up with Masha Kaestner, a vocalist, pianist and organist of German and Russian origins. The wonderful merger of cultures and musical styles has resulted in an album that switches moods and genres with ease. International waters are mixed as "Vainamoinen" sees Kaestner crooning a traditional folk song from Finland, "Antoshka" is about her memories from Russia and throughout it all, Moss, well Moss is a Yorkshire man and so retains the necessary in-built glumness and dry wit rquired to do these songs justice.

- Brett Callwood

Live review: York, Black Swan Folk Club 2008

Magic! One of those nights where the unusual and unfamiliar provides a more stimulating evening’s entertainment and more lasting musical satisfaction than the “know exactly what you’re in for” bigger-name attractions.
David Moss & Masha Kaestner, aka Lightgarden – Black Swan, York, 3rd April 2008
This was one of those nights where the unusual and unfamiliar provides a more stimulating evening’s entertainment and more lasting musical satisfaction than the “know exactly what you’re in for” bigger-name attractions. “Expect the unexpected” could have been the night’s motto, with the evening’s MC, iconic performance poet Tony Morris, delivering his own eclectic brand of instrumentality and forcing a couple of his original songs out into the ether. It was refreshing to feel similarly unconstrained with the choice of material for the other floor performers (Chris Euesden, yours truly and “off-the-Walls” poet Don). But the tapestry of earthly and unearthly delights unveiled by Lightgarden was truly extraordinary. That over-used word MAGIC is only the half of it. David Moss, some of you may recall, was the primary driving force behind the stunning Whitby-based trio Banoffi, who quit while they were very much ahead and called it a day around five years back. This genuinely consummate artist just happens to be tremendously skilled as a fiddler, plays a mean bouzouki, guitar and mandolin and is an amazing singer and writer of hypnotic, floaty songs for which the word beautiful might have been invented. After taking a music-free sabbatical, he’s now teamed up with a new musical partner, Masha Kaestner, a petite keyboard player (and occasional singer) who held court pretty commandingly on the harmonium (now there’s an instrument making a comeback!). The duo’s empathy was miraculous, and their set-list embraced a bewildering diversity such that dreams are made of, whereby listeners were alternately dumbstruck, mesmerised into rapt silence, or tapping three of their four limbs in uncontrollable (if slightly bemused) abandon. Getting the obligatory folky number out of the way at the start (a stomping version of Raggle Taggle Gypsies), David then indulged his known penchant for unusual and exotic time-signatures with the wild proto-Balkan Seven-Eight before moistening our eyes with the heart-rending tale of The Blind Man And The Sky. Then we were treated to the first of the evening’s extended adventures, a linked pair of songs featuring the ancient technique of overtone-chanting (of which David is both an able practitioner and teacher). And we were riveted to the spot, as it were, by this ethereal and wonderful sound reverberating around the unsung cavities of the room. After which, just when we were thinking the evening could hold no further surprises, Masha sang a strange little song in Finnish (Vainamoinen)! It was surely an indicator of the quality of the music that, interestingly (and unusually), the packed room remained packed for the second half too, highlights of which were David’s recent song Shifting Sands, and his Banoffi-period classic Bluebells and a couple of floor-shaking tune-sets. What proved a seriously unforgettable evening concluded with a mantra song as the encore. Lightgarden is without doubt one of the most enthralling acts on the scene; get your local club to book ’em!
David Kidman
Review by DavidK david.kidman@btinternet.com on 1 May 2008