Tag Archives: no-man

April/May 2017 – upcoming London gigs – across-the-board instrumental progressive – Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain (7th); Piko Cloud Booker + Mein Haus + Matt Baber of Sanguine Hum (April 20th); Mouse On The Keys + Mutiny On The Bounty + Strobes (May 1st)

30 Mar

Three upcoming London gigs across April and leading into the start of May: all of them batting around ideas in the progressive field, whichever particular road they took into it. In early April – a Chaos Theory post-rock show with three bands offering successive palettes of solitary guitar sketches, sombre filmic post-Godspeed tonescapes, and bright-toned romantic futurism. In mid-April – the debut of a brand new progtronic trio alongside an experimental string duo and a humble keyboard star. On May Day, an international rhythmatic threesome at Rich Mix mixing up post-Squarepusher tech-fusion, bursting guitar instrumentals and twenty-first century dual-keyboard/drumkit jazz-rock barrage.

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Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain, 7th April 2017

Chaos Theory Promotions presents:
The Facemelter: Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 7th April 7.30pm
information and here

“This month The Facemelter features a glorious night with some truly brilliant veterans of post-rock, drone and ambient sounds, with new and seasoned projects alike.

“Formed thirteen years ago, Flies are Spies from Hell have climbed up from humble beginnings to international fame. The years have seen them move on from small local gigs, to sharing the stage with behemoths such as Russian Circles, And So I Watch You From Afar, *shels, Latitudes and Vessels, to a couple of European tours, and appearances at ArcTanGent and Dunk!festival. Two years after the release of their second album ‘Underdog Underfoot’, they’ll finally grace the stage at The Facemelter.


 
A-Sun Amissa are a powerful (mostly) instrumental collective possessed of “a rusted industrial aesthetic that lurks in the periphery of perception” (‘Rock-A-Rolla’), founded and led by Richard Knox (Shield Patterns, Glissando, The Rustle of the Stars) and Angela Chan (Tomorrow We Sail, Lanterns On The Lake, The Rustle of the Stars) that has featured an array of members and collaborators since its formation in 2011, as well as two albums out on Gizeh Records.

“Producing dense, drone-like atmospheres with evocative, melodic string and woodwind sections, intertwining guitars and field recordings, their live performance is a mixture of recorded output combined with improvisation to explore progressions in the music every time. Their ever-flowing lineup of collaborators have included members of Amenra, Nadja, Gnod, Oiseaux-Tempête and Hundred Year Old Man.


 
Only Echoes Remain serve up incredibly cinematic post-rock, without becoming too cliched thanks to generous smatterings of math, ambient and classic prog influences. They have already played with the likes of Her name Is Calla, TOTORRO, VASA, Poly-Math and Waking Aida, and will be releasing their debut LP early this year.”


 
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Piko Cloud Booker + Mein Haus + Matt Baber, 20th April 2017

Piko Cloud Booker present:
Piko Cloud Booker + Mein Haus + Matt Baber
Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England
Thursday 20 April 2017, 7.00pm
information

Piko Cloud Booker are a modern-day progressive rock trio combining King Crimson-esque cyclical guitar patterns in a mix-up of wacky time signatures with the expansive sequencer-driven explorations of early Tangerine Dream. PCB are guitarist Cameron Piko (mastermind of Australian prog-metal unit Montresor), bassist/violinist Gaz Cloud (one half of dream-technoists Cloud & Owl) and drummer Andrew Booker (no-man, Tim Bowness, Sanguine Hum).”

(This project’s so new that’s there’s no music available to present for it – instead, I’ve had to give you a few ideas via these clips from the member’s other projects, including Andrew’s ten years of undersung work with jamming collective Improvizone:)




 
“Supporting them will be string duo Mein Haus, consisting of Patricia Stepien (violin) and Elliot Murphy (cello, guitar). Their music is by turns creepy and sparse, then intense and dramatic. But whether it’s complex rhythmic interplay, or crunching cello and soaring violin, you feel the humour is never far away. From gigsite ‘Go Out Of Tune‘ – “based in East London but hailing from Poland and Ireland originally, they’ve been making music together since they met on a train in Deptford over a year ago. Their performances are high in energy and musically unpredictable. Their music has been described as: ‘Shostakovich and Arvo Part being kicked down a flight of stairs in an oil barrel’, with influences ranging from the Sex Pistols through Penderecki, Battles and Kraftwerk.”


 
Matt Baber is a co-founding half of the continuing Oxford-based musical journey that is currently Sanguine Hum, having made its way through various earlier incarnations. He has played keyboards throughout, both crafting his unique synth atmospheres plus stamping down complex piano riffs on his Fender Rhodes. Expect more of the latter this time, as he delves into his Jarrett/Emerson-flavoured solo material for his first ever solo keyboard show.”


 
Note that Gaz Cloud – as half of Cloud & Owl – will also be playing this Askarabaskara techno/house gig five days earlier, demonstrating part of the elements-puzzle which makes up his new band.

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Mouse On The Keys + Mutiny On The Bounty + Strobes, 1st May 2017Chaos Theory Promotions presents:
Mouse On The Keys + Mutiny On The Bounty + Strobes
Rich Mix, 35-47 Bethnal Green Road, Shoreditch, London, E1 6LA, England
Monday 1st May 2017, 7.30pm
-information here, here and here

“An ultrasonic mammoth of a lineup, packed with dreamlike jazz, vast math rock, ambient precision and mesmerising polyrhythmic beats!

“The extraordinary Mouse On The Keys trio are back from Japan, armed with fresh material from their new album ‘Out Of Body’, out last January via Topshelf Records. This is a pristine example of blending minimal-phrased piano and dynamic drumming, while creating a live experience composed of visual and audio elements. Formed in 2006, with elements of jazz, funk, post‐rock and electronic music, Mouse On The Keys fits into a genre of their own.

“The trio consists of two former members of the influential Japanese underground band Nine Days Wonder – Akira Kawasaki and Atsushi Kiyota – who teamed up with Daisuke Niitome (who has played drums as well as composed music for countless jazz‐funk and hip hop bands). Their unique sound, comprising two pianos, two keyboards and drums, continues to stand at the forefront of the Japanese music scene.


 
“Luxembourg quartet Mutiny On The Bounty bring a torrent of groovy rhythms, guitar acrobatics and joyous melodies our way. These guys have been showcasing their unique brand of math-rock and instrumental music throughout Europe and have played close to five hundred shows supporting bands such as Biffy Clyro, And So I Watch You From Afar, TTNG and Maps & Atlases as well as playing some of the biggest festivals like Roskilde, Primavera and Fusion festival.

“Following on from their album ‘Trials’, released in 2012 and recorded by producer Matt Bayles, Mutiny On The Bounty released their latest album ‘Digital Tropics’ via Small Pond, which encompasses facets of their personalities ranging from rock, to electro, 80’s pop and even hip-hop. A reverb-infused, pop groove-laden feast of staccato guitar melodies, loops and math rock beats.


 
Strobes‘ triangle of electrified polyrhythms, spaced-out synth jams and off-kilter beats will open the evening. Featuring guitar and synth-work by Matt Calvert (Three Trapped Tigers), drums by Joshua Backmore (Troyka) and keys by Dan Nicholls (who has collaborated with Squarepusher and Matthew Herbert), the trio flickers effortlessly between the worlds of electro-improv, minimalist polyrhythm and distinctively original hooks.

“Like a twisted love child of Aphex Twin, Brainfeeder and Battles, Strobes have been heard individually with the likes of Squarepusher, Matthew Herbert and Three Trapped Tigers. Built from collective composition, studio production, live sampling and improv jams, the band smashes out exhilarating odd-tempo loops, polyphonic synth soundscapes and big headnodding beats. Their new album ‘Brokespeak’, out via Blood And Biscuits, is a true work of genius.


 
“With DJ sets from Bojan Nikolic (The Brain Center At Whipple’s, Battleship Grey), this will be an intensely satisfying feast of jawdropping talent and headnodding beats.”

 

November 2016 – upcoming gigs – iamthemorning’s two shows with Tim Bowness in London and Ulft (12th, 14th) and three more in the Netherlands (16th-18th)

10 Nov

iamthemorning, November 2016 tourOriginally hailing from Saint Petersburg, iamthemorning is the partnership of self-taught, progressive-rock-inspired singer Marjana Semkina and meticulously-taught classical pianist Gleb Kolyadin; it’s also what happens when their conflicting backgrounds and sympathetic musicalities merge. Using pick-up ensembles of classical and rock musicians, they stage their music in multi-media chamber shows; swelling out to small orchestral arrangements, efflorescent electric guitar and tape inserts. Whenever this isn’t possible, they’ll strip themselves back to a string-augmented quartet. When that‘s not possible either, they’ll revert to the original duo, trusting in Gleb’s virtuosic St. Petersburg Conservatory piano skills to cover (or at least intimate) the orchestral role behind the lustrous drama of Marjana’s voice.

Marjana and Gleb’s burnished, budded musicality shows a clear affinity with the British literary mythoscape. Their burgeoning pre-autumnal songs certainly possess, amongst other things, tints of English and Breton-Celtic folk and a certain pre-Raphaelite glow; recalling, on a surface level, that billowing school of female-fronted prog-folk which includes Renaissance or Mostly Autumn (or, on the arresting death-lays which bookend this year’s ‘Lighthouse’ album, the glimmering Celtic feytronica of Caroline Lavelle). All of this probably had a lot to do with ‘Lighthouse’ scooping up ‘Prog’ magazine’s Album of the Year award for 2016.


 
Chamber-prog is the term the band themselves choose, and the one that’s usually applied to them. Tagging them with the prog label, however (complete with all of the blowsy, blustering AOR associations which got gummed to it during the 1980s), seems a little reductive. iamthemorning‘s meticulous immersion in advanced harmony and arrangement puts them square into the tradition of florid electro-acoustic neoromantics – the densely skilled ones who own a strong affinity to the tail-end of Romantic music but arrive several generations too late; the ones who often fall into prog by default, through a love of rock amplification and of what happens when song meets electric surge). Consider the dogged grand orchestralism thundered out by Robert John Godfrey in The Enid. Consider Kerry Minnear, slipping his haunting yet sophisticated quiet-man ballads through the busy humour of Gentle Giant (referencing romanticism and modernism as he did so: deeper rills through the romping). Consider the late Keith Emerson and how (behind ELP’s circus vulgarities and rollicks through baroque, Bach and barrelhouse) he too maintained a fascination for the rich harmonic and melodic upheaval where romanticism meets modernism; capturing it in his brash adaptations of Ginastera and Rodrigo, and listening towards the eastern European strains of Mussorgsky, Janáček and Bartók.


 
This last, in turn, brings us to Gleb and his own deep immersion in the likes of Stravinsky (there are videos of him playing ‘The Rite Of Spring’ and clearly adoring it); one of the reasons why, however much an iamthemorning song may slip along like a scented bath, there’s always more shading and detail in its depths. The other reason is Marjana’s growing determination to back the petal-sheened sonic prettiness and concert-hall glamour with more profound psychological resonance, turning the ‘Lighthouse’ concept into a diary of mental illness and the struggles to survive it. The band might still be in the early stages of establishing a lyrical and conceptual maturity to match the breadth of their musicality, but there’s plenty of space and opportunity to do this. The currents of invention under the lush surface slickness, and the clear willingness of Gleb and Marjana to challenge each other and to grow together, make iamthemorning a band to watch.

iamthemorning & Tim Bowness, 12th-18th November 2016Tim Bowness, on the other hand, has been through much of this already, having persistently edged and developed his visions from the turbulent romantic moodism of his earlier work to his current, exquisitely-honed portraits of human vulnerability. Forced in part by increasingly long gaps in the open musical marriage of his main band no-man, he’s been demonstrating himself, step by step, to not be merely a band singer blessed with a rich, poignant whisper of a voice and a sharp sense of understated lyrical drama, but a formidable solo artist with a mind for matching and fusing together diverse sounds and musical elements.

Erstwhile/ongoing no-man partner Steven Wilson may get more of the plaudits these days, but Tim’s growing list of solo albums are every bit as good. Bridging Mark Hollis with Mark Eitzel, Robert Wyatt with David Sylvian and Peter Gabriel with Morrissey, they work off a confidently-expanding sonic palette of spiky caressing art-rock guitar, luxuriant keyboard and drum work, strings and atmospherics. As ever with Tim, the subject matter is tender and bleak – including thwarted ambitions, the shaping and stripping of love by time and mortality, and (increasingly) shades of the north-western landscapes and dilemmas to which Tim owes his own initial artistic formation.


 

While he’s currently brewing a welter of projects (including a long-overdue second duo album with Peter Chilvers, the resurrection of his angsty 1980s Mersey art-pop quartet Plenty, and assorted work with Banco de Gaia, contemporary classical composer Andrew Keeling and Happy The Man’s Kit Watkins), Tim’s main focus is his still-in-progress fourth solo album, ‘Third Monster On The Left’. This is sounding like his most ambitious project to date: a conceptual musical memoir centring on the backstage thoughts of a fictional, fading classic-rock musician, awash in the garden and graveyard of talent that was the 1970s. For ‘Third Monster On The Left’, Tim promises (as part of the context-appropriate crafting) a more explicit version of the progginess that’s always fed into his art pop since the beginning: specifically, “the harmonic richness and romanticism of 1970s Genesis, and the Mellotron-drenched majesty of early King Crimson.”

All of this makes the declared prospect of a Bowness/iamthemorning set of collaborative “shared bill, shared songs” concerts an interesting one. There’s already a connection via Colin Edwin, who’s played bass for both of them. On this occasion, Tim will be bringing along band regulars Michael Bearpark (guitar), Stephen Bennett (keyboards) and Andrew Booker (electronic drums) plus returning cohorts Steve Bingham (violin, loops) and Pete Morgan (bass). Some or all of these will be pulling double duty backing iamthemorning, alongside whoever Gleb and Marjana brings along. What’s most intriguing, though, is what this hand-in-hand teamup is going to bring out in both parties. Beyond the luxuriant tones, there’s useful artistic tinder in their differences, their similarities, and their internal contradictions alike.

At its best, there ought to be push-and-pull. Tim’s austere taste for unvarnished modernism and stark realism is ever compromised by a sensual greed for the textures of romance: Gleb and Marjana swim in an ocean of effusive orchestral indulgence, but now want to grap stone and dirt. He’ll give them an exquisitely pained art-pop ballad, pared clean of fairytale delusions and as slender as a greyhound; they’ll polish and expand it back into dreamscape. They’ll give him a perfumed Edwardian garden: he’ll slouch in, with his Beckett and Kelman paperbacks, to lay a grit path. He’ll bring out their darker, less-resolved deep chords. They’ll bring out his blushes.

The odds are fair that they’ll make a collective attempt at the title track from ‘Lighthouse’ (though they’ll probably not risk a medley with the no-man epic of the same name). I’m also hoping for a Gram-and-Emmylou-shaded prog harmony on Tim’s heart-breaking Know That You Were Loved; or perhaps a morningification of Dancing For You. We’ll see…




 
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iamthemorning with Tim Bowness:

  • IO Pages Festival @ Poppodium DRU Cultuurfabriek, Hutteweg 24a, 7071 MB Ulft, Netherlands, Saturday 12th November 2016, 2.30pm (with Gazpacho + Anekdoten + Lesoir + Marcel Singor + A Liquid Landscape + Anneke van Giersbergen) – information here and here
  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Monday 14th November 2016 – information here and here

Immediately after the Bowness shows, iamthemorning embark on three more shows on their own in the Netherlands – details below. Depending on which one you attend, you could see the band in any one of its three main playing configurations.

  • Hedon, Burg Drijbersingel 7, 8021 DA Zwolle, The Netherlands, Wednesday 16th November 2016, 8.00pm (chamber gig with violin & cello)information
  • De Pul, Kapelstraat 13, 5401 EC Uden, The Netherlands, Thursday 17th November 2016, 9.00pm (duo gig)information
  • Patronaat, Zijlsingel 2, 2013 DN Haarlem, The Netherlands, Friday 18th November 2016, 7.30pm (full band gig)information

 

Upcoming concerts in October – Jonas Hellborg & Steve Lawson in Birmingham, London & Leeds; Tim Bowness/Peter Chilvers/David Rhodes/Theo Travis quartet gig in Cardiff

7 Sep

Although there are still some September gigs to flag up, here’s advance notice of four interesting concerts in early October for those of you who are interested in the amorphous terrain between jazz, balladry, art pop and ambient electronica. (Just straight press release stuff – the analysis will have to wait for another time, although I’ve also stuck a few review links in where I’ve covered these musicians before…)

Hellborg & Lawson, 2015

Two of the world’s leading solo bass guitarists together on one stage.

Crossing musical boundaries and blowing listeners’ minds for over thirty years, Jonas Hellborg is one of the great innovators of the bass guitar. From the pyrotechnic flamboyance of his early solo electric albums, to his unique exploration of the richness and depth of the acoustic bass guitar, Jonas has changed the way people think about – and play – the bass. Whether as a solo artist, or collaborating with many of the most respected names in music, from John McLaughlin to PiL, Ginger Baker to Shawn Lane, Jonas’ signature sound and uncompromising creative philosophy have produced an unparalleled body of work, mostly on his own Bardo label. Lauded by press and public alike, this is a rare opportunity to hear Jonas up close in the UK.

Steve Lawson is one of the most celebrated solo bassists in British music history – early in his career, he opened for Level 42 on their first Greatest Hits comeback tour, placing his unique take on melodic looping-based live performance in front of tens of thousands of bass aficionados. Fifteen years of regular gigging across the UK, Europe and the US have solidified his place as a leading exponent of solo bass. Steve’s sound-world borrows liberally from electronica, jazz, pop, rock, ambient and experimental music, to form a sonic fingerprint as compelling as it is unique. Following on from two years of wide-ranging collaboration, playing alongside musicians as diverse as Reeves Gabrels and Beardyman, Andy Gangadeen and Divinity, (and with the imminent release of his twelfth and thirteenth all-solo albums – on the same day!) Steve is back with fresh explorations pushing the notion of what the bass can be in the twenty-first century. (Here are a couple of ‘Misfit City’ reviews of earlier Steve Lawson records for those who’ve not read/heard them -‘Not Dancing For Chicken‘ and ‘Conversations‘).

Full dates, details and links:

  • Tower of Song, 107 Pershore Rd South, Cotteridge, Birmingham, B30 3EL, UK, Sunday 4th October 2015 – £10.00, tickets here.
  • The Vortex Jazz Bar, 11 Gillett Street, Dalston, London, N16 8AZ, UK, Monday 5th October 2015 – price t.b.c. – contact venue for tickets.
  • Left Bank Leeds, The former St Margaret of Antioch Church, Cardigan Road, Hyde Park, Leeds, LS6 1LJ, UK, Tuesday 6th October 2015 – £10.00, tickets here.

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Bowness/Chilvers/Rhodes/Travis, October 2015

Tim Bowness/Peter Chilvers/David Rhodes/Theo Travis (Chapter in association with Burning Shed @ Chapter,  Market Road, Canton, Cardiff, Wales, CF5 1QE, UK, Saturday 3rd October 2015, 7.00pm) – £15.00

A unique combination of atmospheric music and songs performed by the following four British art-pop, jazz and textural music mainstays:

Tim Bowness is vocalist/co-writer with the band no-man, a long-running collaboration with Steven Wilson. He has also worked with Richard Barbieri (Porcupine Tree, Japan), Peter Hammill, Judy Dyble (ex-Fairport Convention), Roxy Music’s Phil Manzanera and others. He has released three solo albums – ‘My Hotel Year’ (2004), ‘Abandoned Dancehall Dreams’ (2014) and ‘Stupid Things That Mean The World‘ (2015).

Peter Chilvers is a frequent collaborator with Brian Eno (including co-creating the hugely successful app Bloom), Underworld’s Karl Hyde and Tim Bowness, Chilvers has become known for his innovative work with generative apps and imaginative use of electronic textures. (Here’s a review of ‘Thin Air‘, an album Peter did with Michael Bearpark many years ago).

David Rhodes is one of the world’s most respected and inventive guitarists, having worked extensively with Peter Gabriel as well as with Kate Bush, Talk Talk, Scott Walker, Japan, New Order, Paul McCartney and Blancmange, amongst many others. David has also released two solo albums (2010’s ‘Bittersweet’ and 2014’s ‘The David Rhodes Band’) and was a founding member of the influential post-punk band Random Hold.

Saxophonist and flautist Theo Travis (making his Chapter return after performing with the cinematic/musical crossover project Cipher) has an international reputation as one of the stars of the contemporary UK jazz scene. Travis has more recently emerged as a key figure in the progressive and art rock sphere, working with David Gilmour, Robert Fripp, David Sylvian, Porcupine Tree, Steven Wilson, Bill Nelson, Gong, Soft Machine Legacy, Bill Bruford, Harold Budd and more. He has recently released his ninth solo album ‘Transgression’ (and here’s a review of an earlier one).

The evening is presented by Burning Shed, the online label and store founded by Bowness and Chilvers with Pete Morgan that has become a global specialist in progressive, ambient/electronica and art rock music. As well as releasing works on its own imprint, amongst others, Burning Shed hosts the official online stores for Panegyric (King Crimson, Yes), Ape (Andy Partridge, XTC, The Milk & Honey Band), Jethro Tull, Kscope (Porcupine Tree, Sweet Billy Pilgrim), Thomas Dolby, All Saints (Brian Eno), Medium Productions (Jansen, Barbieri and Karn), Gentle Giant and Roxy Music’s Phil Manzanera.  The label has recently expanded into book publishing, and at this concert musician and author Anthony Reynolds (perhaps best known as the former frontman of Jack) will be signing copies of his Burning Shed Publishing book, ‘Japan – A Foreign Place (The Biography 1974-1984)’.

More information here, and tickets available here.

Some videos – Tim Bowness, William D. Drake, Thumpermonkey

2 Jun

A few videos to pass the time.

Firstly, here’s the newest video from Tim Bowness, promoting the lead single from next month’s ‘Stupid Things That Mean The World’ album. The Great Electric Teenage Dream features a cut’n’paste scratch effort built up from fragments from the Prelinger archive.

While I’m limbering up for a big William D. Drake catchup (reviews of this month’s ‘Revere Reach’ album and its predecessor ‘The Rising Of The Lights’), here’s the uproarious Chaos Engineers video from the former’s lead single. ‘Distant Buzzing’ features appearances, on- or off-video, from assorted Drake associates – the Larcombe Brothers (from Stars In Battledress), Dug Parker (from North Sea Radio Orchestra), Stuffy Gilchrist and many others…including a certain sordid, waxy tyrant from the 1980s. And a donkey.

Finally, do you ever hear anyone complaining bitterly that all of the artistry has gone out of rock vocals? If so, play them this video of Thumpermonkey‘s Woody recording voicework for the band’s upcoming album, and watch a grin breaking like sunrise across their face. (I don’t cover Thumpermonkey enough in this blog. That’s going to change.)

Through the feed – free single/upcoming crowdfunder from The Duke Of Norfolk; Cardiacs and Knifeworld reissues; a new Tim Bowness album; disinterring lost Levitation

21 May

I can tell I’ve not kept my eye on the ball – nothing makes a person feel less alert than suddenly finding that three of his favourite musical projects (plus one new recent favourite and one older interest) are suddenly pouncing out new releases and. I step out for a moment, for another writing project, and someone moves all of the furniture around.

The Duke Of Norfolk: 'A Revolutionary Waltz'

The Duke Of Norfolk: ‘A Revolutionary Waltz’

So… let’s start with news of fresh work from The Duke of Norfolk, a.k.a transplanted Oklahoman folkie Adam Howard, now resident in Edinburgh. He’s currently offering a free single – A Revolutionary Waltz – in part-promotion, commenting “I am launching a Kickstarter project in two weeks to fund the making of a live video EP, and would like to give you this recording in the meantime. It’s just a wee sonic experiment, but I hope you enjoy it!”

If you’re wondering whether there’s a Scottish Nationalist tie-in here, given recent political events in Britain, Adam’s adopted hometown, and that beautifully sympathetic and country-tinged setting of Robbie Burns’ Ae Fond Kiss on which he duets with Neighbour, think otherwise. In fact, this song is a darker cousin to An Evening Waltz (from his 2013 album ‘Le Monde Tourne Toujours’): a foreboding meditation on the inexorable turn of fate’s wheel, tying together three histories of power, betrayal and fall. Despite its timeless trad-folk lyric, Adam’s busking roots (and the lusciously acoustic sound of much of his other material) it’s also a rough-and-ready take on digital folk, either demo-rough or intended to display Adam’s other roots in sound design. A clipped electrophonic waltz picks its way across a murky psychedelic smudge and a droning feedback pibroch: its characters sea-waltz to the grim, dry beat of a hand drum and a scattering of cowrie-shell percussion. It’s well worth a listen. As for progress on the Duke Of Norfolk video Kickstarter campaign, it’s probably best to keep tabs on his Facebook page.

Cardiacs: 'Guns'

Cardiacs: ‘Guns’

Following the success of their double vinyl LP reissue of 1995’s ‘Sing To God‘ album, Cardiacs are doing the same with its 1999 follow-up, ‘Guns’. While it’s not the magnificent sprawler that ‘Sing To God’ is, ‘Guns’ offers a more concise take on the pepper-sharp 1990s Cardiacs quartet that featured Bob Leith and gonzo guitarist Jon Poole alongside the band-brothers core of Tim and Jim Smith. As Cardiacs albums go it’s an even brasher beast than usual, hiding its gnarly depths under brass-balled upfront confidence and strong seasonings of glam-bang, pell-mell punk, whirring Krautrock, and jags of heavy metal looning.

‘Guns’ is also one of the most obscure Cardiacs works. Drummer Bob joined Tim on lyric duties, helping to turn the album’s words into a dense hedge-witch thicket of allusion and play, in which typically naked Cardiacs preoccupations (dirt, wartime, suspicion, indeterminate life and death) are tied up into an almost impenetrable web, driven along by the music’s eight-legged gallop. The fact that Tim and Bob were slipping in random borrowings from ‘English As She Is Spoke‘,  a notoriously bungled Victorian phrasebook with its own wonky and unintentional poetry, only added to the tangle.

You can pre-order the ‘Guns’ reissue here for end-of-June shipping. It’s a single vinyl record, with no extra thrills or treats, but does come with the promise of beautiful packaging and pressing. You can expect to hear news on more Cardiacs reissues over the next few years. The current plan is to reissue the band’s whole back catalogue on vinyl after years of exile (predominantly spent huddled exclusively on iTunes).

Meanwhile, see below for a taste of ‘Guns’ magnificent oddness. Here’s the grinding drive of Spell With A Shell (which encompasses the lives of pets, the terror and wonder of transformation, and the cruelty, loneliness and confused loyalties of childhood). Here’s a collision of outsider folk and reggae in Wind And Rains Is Cold (via a fan video of clips from ‘Night Of The Hunter’, from which Cardiacs frequently filch scraps of lyric). Finally, here’s the scavenged, scratchy prog of Junior Is A Jitterbug with its prolonged and celebrated unravelling coda.

Cardiacs: 'Day Is Gone'

Cardiacs: ‘Day Is Gone’

For those without turntables, there’s been a relatively recent CD reissue of Cardiacs’ 1991 EP ‘Day Is Gone’ – which I somehow managed to miss when it was first announced – and which includes the original three B-sides (No Bright Side, Ideal and concert favourite Joining The Plankton). This is from the pre-‘Sing To God’ lineup: another quartet but with Dominic Luckman on drums and, ostensibly, Bic Hayes on second guitar (prior to his explosive stints in Levitation and Dark Star, and to his current position etching dark psychedelic guitar shadings in ZOFFF).

Actually, since this was a time of shuffle and change in the band it’s unclear as to whether Bic or Jon Poole is providing the extra galactic bangs and shimmerings on the EP. However, for Day Is Gone itself the attention should be on Tim Smith’s grand bottle-rocket of a solo, capping what’s both one of Cardiacs’ most autumnal songs and one of their most headrushing cosmic efforts – a bout of November skygazing gone bright and vivid. See below for the original video in all of its low-budget saucer-eyed glory, and pick up the CD here.

Cardiacs: 'Heaven Born And Ever Bright'

Cardiacs: ‘Heaven Born And Ever Bright’

Note also that a couple of other early-‘90s Cardiacs recordings have made it back on CD in the past six months. ‘Heaven Born And Ever Bright’ (the parent album for Day Is Gone) shows Cardiacs at their brightest and bashing-est, but hiding a wounded heart. ‘All That Glitters Is A Mares Nest’ – the recording of a raucous 1990 septet concert at the Salisbury Arts Centre – was both the last hurrah of the 1980s lineup (with carousel keyboards, saxophone and half-a-scrapyard’s-worth of percussion rig) and, for my money, is also one of the greatest live rock recordings ever made. See if you agree.

Cardiacs: 'All That Glitters Is A Mares Nest' (2014 reissue)

Cardiacs: ‘All That Glitters Is A Mares Nest’ (2014 reissue)


‘Mares Nest’ also made a welcome resurfacing on DVD a couple of years ago – see below for a typically quaking example of the band in action. It’s also worth repeating that all of the profits from the recording sales continue to go towards palliative care and physical therapy for Tim Smith, who’s still engaged in the slow painful recovery from his crippling stroke of 2008.

Knifeworld: ‘Home Of The Newly Departed’

Knifeworld: ‘Home Of The Newly Departed’

Meanwhile, Knifeworld – who feature an ex-Cardiac and, while being very much their own eclectic and tuneful proposition, carry a certain continuation of the Cardiacs spirit along with them – have collated early, interim and now-unavailable tracks onto a full-length album, ‘Home Of The Newly Departed’. The seven tracks (dating from between 2009 and 2012) bridge the space between their ‘Buried Alone: Tales of Crushing Defeat’ debut and last year’s tour-de-force ‘The Unravelling’.

If you want to read my thoughts on the original releases, visit the original ‘Misfit City’ reviews of the ‘Dear Lord, No Deal’ and ‘Clairvoyant Fortnight’ EPs from which six of the tracks are taken. (I’ve just had a look back myself and discovered that I’ve previously described them as a band who could drag up exultation with their very fingernails, as starchildren weighed down by dark matter, as possessing “a knack of dissecting difficult feelings via swirling psychedelic sleight-of-hand” and as “an almighty and skilful art-rock mashup, with horns and bassoons poking out of it every which-way and strangely kinking, spiraling spines of rhythm and harmony locking it all together.” I must have been pretty excitable, on each occasion.)

Alternatively, have a look at the videos below. Also, if you’re in England during the end of May, the band (in full eight-person glory) are out on a short tour featuring the debut of new music.

Tim Bowness: 'Stupid Things That Mean The World'

Tim Bowness: ‘Stupid Things That Mean The World’

With his erstwhile/ongoing no-man bandmate Steven Wilson going from strength to strength as a solo act, Tim Bowness also continues to concentrate on work under his own name – sleek, melancholy art-pop with a very English restraint, fired with a desperate passion and shaded with subtleties and regrets. His third album, ‘Stupid Things That Mean The World’, is due for release on July 17th; barely a year after his last effort ‘Abandoned Dancehall Dreams’ (one of my own favourite records of 2014).

If it ain’t broke, don’t fix it. ‘Stupid Things That Mean The World’ features the ‘Abandoned…’ core band of Tim plus his usual cohorts Michael Bearpark, Stephen Bennett, and Andrew Booker, and on spec sounds as if it’ll be a smooth progression and development from the previous album. It also features guest showings from three generations of art rock (Phil Manzanera and Peter Hammill; David Rhodes and Pat Mastelotto; Colin Edwin, Bruce Soord, Anna Phoebe and Rhys Marsh) and string arrangements by art-rock-friendly composer Andrew Keeling.

Expect a typically Burning Shed-ish range of format options: the double CD mediabook edition (with companion disc of alternate mixes and demos including an unreleased no-man demo from 1994), and LP versions in either black vinyl or transparent vinyl (CDs included with each). Pre-ordering gets you a downloadable FLAC version of the 5.1 mix, plus the usual cute postcard. Sorry – I have no early tasters for ‘Stupid Things…’, but here’s a taste of one of the slower, lusher tracks from ‘Abandoned Dancehall Dreams’ for the benefit of anyone who missed it last year.

Earlier on, while discussing Cardiacs, I briefly mentioned Bic Hayes and his time in Levitation. For those of you who are unfamiliar with them – or who weren’t around in early ’90s Britain to witness their brief, Roman candle of a run – they were a band who eagerly fused together an enormous sound, leashing and running with a frenzied and energized take on psychedelic rock, driving post-punk noise and earnest, distressed chanting from their singer, the former House of Love guitar star Terry Bickers. Sadly, they’ve become best known as the springboard by which Terry catapulted himself first into frontmanhood, then into the uncharted and finally (via some tortured decisions and unfortunate outbursts) into the obscure.

In truth, Levitation were an equal conspiracy of five. As well as Terry and Bic, there was Robert White (a baby-faced free-festival veteran and secret-weapon multi-instrumentalist, who’d later lead The Milk & Honey Band), an undersung alt.rock bass hero called Laurence O’Keefe and David Francolini, an astounding and slightly demonic drummer who could run the gamut from pattering rain to pneumatic drill in a single roll round his kit (and who, within Levitation, had the perfect opportunity to do so). Fuelled equally by inspiration, drugs and sheer hard work, they strived for three intense years while living on the outside of their skins, and briefly came close to making some very unfashionable sounds current again.

While they were certainly a “head” band – hippy punks who joined floating threads of British counter-culture, spontaneity and resistance together – it’s vital to remember that Levitation were never your average festival band. They were never complacent, never entitled. More Yippie than trustafarian, they seemed (Bickers, in particular) to be desperately chasing revelations just over the rim of the horizon. Their ethos and experience was best summed up – or, more accurately, caught in a passing flare – in a lyric from their song Against Nature ), with Terry choking out “there is an answer, but I’ve yet to find out where” over a raging foam of guitars. Fingers (and not a few minds) got scorched along the way. In May 1993, it culminated in Terry’s wracked, brutal self-ejection from the band – in a spurt of slogans and despair – during a concert at the Tufnell Park Dome, just a short walk from Misfit City’s current home.

There have been some reconcilations since then (not least Bic, David and Laurence reuniting in the wonderful but equally short-lived Dark Star five years afterwards) but there have been no reunion, and no-one has ever seemed to want to go back. However, on Monday this week – Record Store Day 2015 – the Flashback label released the first Levitation music for twenty years – ‘Never Odd Or Even’, a vinyl-only EP containing three tracks from the band’s lost 1992 album ‘Meanwhile Gardens’ (these being Never Odd Or Even, Greymouth and Life Going Faster). More information is here, although if you want to pick up one of the five hundred copies you’d better find your nearest participating British record store here: they might have some left. (There’s an earlier version of the title track below, in perhaps a rawer form.)

I’ve described ‘Meanwhile Gardens’ as a lost album, which isn’t strictly true. Although the record was recorded prior to Terry’s explosive departure, there was life after Bickers, For just over a year, singer Steve Ludwin took on the frontman role; during this time the band took it upon themselves to partially re-work the album with Ludwin’s vocals rolled out firmly over Terry’s. The resulting version of ‘Meanwhile Gardens’ was only released briefly in Australia. Following the split of the Ludwin lineup and the final end of the band, it’s always been regarded (rightly or wrongly) as something of a bastard appendix to the Bickers-era albums.

The happier news is that, following up ‘Never Odd Or Even’, Flashback are about to give ‘Meanwhile Gardens’ its own new lease of life with the active collaboration of the original lineup (including Terry Bickers). The album’s original vocals have been restored, the songs polished to satisfaction and a final tracklisting agreed upon. Although former album tracks Graymouth and Life Going Faster have been ceded to the ‘Never Odd…’ EP, the 2015 version of ‘Meanwhile Gardens’ keeps four of the tracks familiar from the Ludwin version (Food For Powder, Gardens Overflowing, Even When Your Eyes Are Open and the vaulting soar of King of Mice) and adds five songs previously only available via bootlegs (Bodiless, Imagine The Sharks, Evergreen, I Believe, Burrows and Sacred Lover). Apparently, it’ll be out sometime in “summer 2015” as a single CD and limited-edition double LP, each coming with gatefold sleeve and new artwork by original Levitation cover artist Cally.

It’s probably best to keep track of progress on the ‘Meanwhile Gardens’ release here; but meanwhile here’s the Bickers version of Even When Your Eyes Are Open (the last single the band released before he quit) and a bootleg-sourced version of the startling post-psychedelic stretchout Burrows – just to whet the appetite.

The Duke Of Norfolk online:
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Cardiacs online:
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Knifeworld online:
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Tim Bowness online:
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Levitation online:
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Through the feed – Tim Bowness/Stars In Battledress pre-orders

9 May

News on two long-awaited second albums, both now available for pre-order.

(Brief rant first. Up until now ‘Misfit City’ has avoided reproducing or paraphrasing current news releases, apart from the odd crowdfunding mention. Too many music blogs are rolling shills, just throwing out links and one or two lines of PR blurb – fine if you only want a quick squirt of info, but I prefer to provide something to read and reflect on. Now I’m relaxing my stance: partly because release schedules are moving too fast for me to keep up with them properly, and also because ‘Misfit City’ readers probably appreciate the opportunity to pursue a few things on their own. Hence this first “through the feed” post, passing on and personalising info on promising upcoming releases or events which I’ve heard about. This will flesh out the City’s posting schedules and also allow me to indulge myself as pure enthusiast, minus the more sober and serious responsibilities that come with in-depth reviewing. Having unbent myself a little, I’ve found I’m enjoying it. Wheedling rant over. Now…)

Tim Bowness: 'Abandoned Dancehall Dreams'

Tim Bowness: ‘Abandoned Dancehall Dreams’

On 23rd June, Tim Bowness releases ‘Abandoned Dancehall Dreams’ on Inside Out Music. I know I wasn’t alone in hoping for Tim to release a new no-man album this year, but thanks to bandmate Steven Wilson’s ongoing commitments to his own solo career, we get this as an alternative: a might-have-been no-man album reworked as a Bowness solo effort. The album features contributions from the no-man live band (including Darkroom‘s Mike Bearpark and Henry Fool‘s Stephen Bennett) plus a scatter of interesting guest players (King Crimson’s Pat Mastelotto, Porcupine Tree’s Colin Edwin, Anna Phoebe from Trans-Siberian Orchestra, composer/string arranger Andrew Keeling).

Those who’ll still miss the presence of Steven Wilson can console themselves by the fact that he’s done the album mix, but it’s always worth pointing out that no-man is an equal partnership for a very good reason – and that Tim’s work outside no-man during the band’s lengthy absences over the past decade has flowered into much broader areas and accomplishments. For ‘Abandoned Dancehall Dreams’, expect plenty of violins, choirs, an edgy croon and some immediate art-rock songs which should effortlessly combine the wracked, the sleek and a very English blend of wryness and longing. One song, The Warm-Up Man Forever, was premiered as a highlight of the no-man tour back in 2012.

A download version comes later, but as regards the solid options the usual Burning Shed boutique format options apply for the pre-order. For turntable worshippers, there’s not only a vinyl version but also a very limited white vinyl edition, both of which come with a free CD version. For musical completists and sleeve-note fans, the double CD version comes with alternate/outtake versions plus remixes by Richard Barbieri, UXB and Grasscut, as well as a nice fat 16-page essay booklet (of the kind I used to write, once upon a time). Sweet. Some live dates follow in July, featuring members of the erstwhile Bowness band, the no-man live band, and Henry Fool (all of whom appear to have morphed together into an overlapping art-rock amoeba). Loop-guitar thresher Matt Stevens and silky Italian art-rockers Nosound appear as support at some dates.

Stars In Battledress: 'In Droplet Form'

Stars In Battledress: ‘In Droplet Form’

The week before that, on June 16th, sibling duo James and Richard Larcombe – a.k.a Stars In Battledress – release their own second album ‘In Droplet Form’ on Believers Roast. Their debut album was one of 2003’s hidden, intricate gems – a marvellous multi-levelled faux-antique toybox of sepia-ed wit, sophisticated arrangements, sly poetry and clambering harmony. Fans of Neil Hannon, Robert Wyatt, Stephen Merritt and Cyril Tawney should all have had a field day with it, but for a variety of reasons, it remained hidden. (I’m sure that my own wretched inability to complete a review at the time didn’t help…)

Since then Stars In Battledress have only reappeared sporadically, although the brothers have kept busy both separately and together. Both have worked as ensemble members of North Sea Radio Orchestra and of William D. Drake & Friends: James has played keyboards in Arch Garrison and Zag & The Coloured Beads; Richard has kept himself busy with his Sparkysongs project for children, no less of a challenge than keeping cranky art-rock fans happy. Yet absolutely nothing else that the Larcombes do can top the particular magic they cook up when they’re together and completely in control of their own songs.

With an eleven year gap between albums, some of these songs have been around for quite a while. The romping wit of Hollywood Says So, the rambling melodic spikes of Fluent English (an oblique essay on rebellion, Empire, personal misplacement and embarrassment) and the haunting cadences of The Women From The Ministry – all of these were highlights of Battledress sets back in the early Noughties, so it’s lovely to finally have them arriving in recorded form. If you want some idea of what Stars In Battledress are like live, here’s a review of them at Roastfest in 2011. As a taster for the new album, here’s their video for the opening track A Winning Decree (directed by Ashley Jones of Chaos Engineers).

‘In Droplet Form’ is a CD-only release for now, and can be pre-ordered here, with a London album launch (also featuring Arch Garrison and Prescott) downstairs at the Roundhouse on April 13th.

Also in June, the Laura Moody debut album should be appearing. I’m really looking forward to that one too.

Tim Bowness online:
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Stars In Battledress online:
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REVIEW – Darkroom: ‘Some Of These Numbers Mean Something’ album, 2008 (“once engaged in perpetual fall, now they roam”)

1 Oct

Darkroom: 'Some Of These Numbers Mean Something'

Darkroom: ‘Some Of These Numbers Mean Something’

Perhaps the passage of time forces a shape on what used to be abstract, giving it some meaning. Perhaps Darkroom just got tired of toying with slow nebulae and with clouds of diffused adrenalin and panic. At any rate, the Cambridge dark-ambient duo (now based around Hertfordshire) are changing. Their first full-release album since 2002’s ‘Fallout 3‘ sees them producing a very different music from the leashed chaos of their first decade. Those looming, passive-aggressive electronic thunderheads and those forbidding razor-smears of guitar are easing into a sweeter mood.

There’s also the question of how that passage of time works the same effect on people as it does on bands. In many respects, watching Darkroom evolve has been like watching – in extreme slow motion – the unknotting of a glower. Whatever the image, there’s always more to electronica artists than their boxfuls of clicks and drones or their “take-it-or-leave-it” detachment from their completed music, for which the finely-honed details of a recording (rather than the performance within) is the ultimate statement. For Darkroom, perhaps this is closer to the surface than most. The group has rarely, if ever, been sought out for interview, but anyone who’s taken the trouble to talk to them has encountered soft-spoken yet determined men keeping a tremendous exploratory brainpower in reserve. While no-man singer Tim Bowness was part of Darkroom (howling wordless imprecations and grand voice fragments, a guttering horror-struck Lucifer tumbling through a churn of collapsing stars) much of this emphasis fell on him. With Tim long-since melted out of the picture, any such curiosity has to move in on the remaining Darkroom pair and what they might be bringing in.

It becomes more interesting, for example, that synth lynchpin Os programs (as Expert Sleepers) innovative sound modules and methods for other musicians to pursue, and cooks up lighting effects for video gaming at the point where it bleeds into video art; or that guitar-broiler Michael Bearpark’s sinewy textural playing is a flipside to his day-job in cutting-edge computational chemistry. While this kind of hard science hasn’t obviously dictated the form of Darkroom (generally they’ve surrendered to the unknown rather than tried to map it) it does seems that ideas of coloration, reaction, chemical excitement and chiaroscuro are built into the group at a deep and evolving level.

When I originally reviewed ‘Fallout 3’, I toyed with the idea of a kinder, gentler Darkroom, in which the pressured frowns and disorientations of their earlier music relinquished its forbidding edge. Here, this comes to pass. While they’re not exactly rolling over to have their bellies tickled, Darkroom have, in their way, mellowed. A decade into their work, they’ve stopped overwhelming us with gigantic, impenetrable sonic proofs and begun welcoming us with musicality. Though star-stuff is still implied, and they’ve kept much of their cosmic scale and atmospherics, they’ve switched off most of their former barrage of hostile radiation. What comes through now are blushes and bobs of warmth, a new appreciation of carefully worked detail. With Michael’s recent embrace of acoustic guitars (and the deployment of drummer Andrew Booker as a new group foil) we also get the sound of physical velocity, friction and fingerprints; of hands on sticks, gut and wood as well as electronic triggers. Where they once engaged in perpetual fall, now they roam.

Their 1999 album ‘Seethrough‘ (an unexpected collection of songs recorded while Tim Bowness was still on board and tugging them back towards his own musical heartland) originally seemed like a blip in Darkroom’s career. Listening to the camouflaged melodies and song structures sliding past in ‘Some Of These Numbers…’ suggests that with or without Tim some seeds might have been planted them for later emergence. Bar the vertiginous, unsettling loll of Insecure Digital (a teetering reminder of Darkroom’s roots in echoing noise and psychedelic dub) the music here sounds as if it comes from the heart and not from the more obscure sets of glands. Mercury Shuffle, in particular, rides on a soft and subtle ballad-chord sequence, inspiring rippled melodics. Booker, in his most prominent moment on the record, provides a subtle shuffle from which to launch Os’ rhapsodic faux-CS-80 synth buzz and Michael’s batwing-rises of screech-guitar. Beyond the drowsy interplay, the backgrounds show Darkroom at their gentlest: a riffling submarine twang, or space-rock-tinged Americana with a touch of Bill Frisell (and, perhaps more than a couple of echoes of Red River Valley).

While Darkroom have generally been open about their enjoyment of 1970s prog and fusion, and of 1980s pop (as well as the 1990s electronica boom which they both sprang from and dodged) it’s becoming more evident in the sounds they choose and the structures they etch. Album opener The Valley of Ten Thousand Smokes revisits some aspect of the group’s original brutal beauty – a brow-furrowed mumble of baleful sound, its hooded swamp-dragon guitar tones move foggily over a bass-drum thud that’s part hip-hop and part dream-course, as if some of the trancier elements of Pink Floyd’s Echoes were cheek-to-cheeking with the Aphex Twin. Yet it’s also more structured than they’d have allowed themselves before: more painstakingly orchestrated. Treated guitar parts flash over the lip of the tune’s leading edge like a handful of blades, sounding in the deep like Wagner horns or mingling Delta slide with digital interrupts.

A whole rackful of ideas are bound into the album’s title track, which travels from electronics fluttering around elegant classical-styled guitar harmonics via a subtly slowhanded Bearpark melody and bouncing Eurotrance suggestions from Os. These in turn thin out into a post-rock brew of expressive but hidden guitar and a succession of themes, each beautifully suggestive but barely touched upon. They’re like the points of a mathematical iceberg, nudged and smoothed by equally brief musical salutes (an aerial Fripp burn, a little Talking Heads funk) and, towards the end, the crash and hiss of sea-breakers.

While they’re shyly opening out this fan-spread of influences, Darkroom also reveal a new skill: that of touching on and drawing on the times and tones which inspire them without ever getting stuck to them. My Sunsets Are All One-Sided simultaneously revisits the rootless, reborn feel of very early jazz-fusion (before the pulls of groove and tradition dragged it back to something more predictable) and the creeping 1950s curiosity of the European avant-garde. Here’s a gentle Stockhausen toy-chime, eventually discovering its own little medley of small tunes. Here’s a lighthouse-revolve of guitar swells. Here’s a move, by degrees, from Zawinul to Hammer; to a point where a ‘Miami Vice’ bass-synth pulse and subtle Booker cymbalwork grounds Michael’s leaf-fall guitar work, and a shuffling batter of electronic funk is shadowed by the jingle of a roller toy.

Cuddling up with the light celestial touches of ’70s chamber-soul while filtering them through carefully-reserved 1990s arrangements, No Candy No Can Do also hints at the diaphanous mid-’80s tundrascapes on Cocteau Twins’ ‘Victorialand’. Twinkly flechettes of electric piano, slow spins of programmed glitter-dust and a watery Booker shuffle provide the shape, with a countrified psychedelic guitar patrolling the hazy horizon. Hints of dub, apparently played on a toy organ, even makes links to the frayed and contemplative Birmingham exotica of Pram.

The key to Darkroom’s transformation is in Michael’s work on acoustic nylon and steel-string guitars, which bring him down from his cruising altitudes and up from his witches-brew textural bubbling and leave him bare-armed at Darkroom’s forefront. On Two Is Ambient, he’s hooking out a Spanish guitar clang, looping against his own electric drones, warbles and wah-wah cycles and against Booker’s industrial snare and tight cymbals. The latter pulls in yet another layered Bearpark, this one exploring a stepping probing bass sound (begun on the low nylon strings, fretbuzz and all, and ending up somewhere in cavernous double bass territory). Os seems to be both manipulating these sounds with one hand and pushing again them with the other: presumably it’s him who’s responsible for the final chromatic crash and pink noise weirdout. Similarly, it’s Os who throws up the gelid synth-wobble, string-section cycles and speed-oscillation pranks in Chalk Is Organised Dust – a necessary wildcard foil to the loping, snapping drums (part Bill Bruford and part Can) and the snatches of blues, classical double-stops and jazz-bass ostinato which Michael’s now feeding into the tune (as if for ten years he’s been a hostage virtuoso, now finally set free of his leg-irons and running off in a kind of fluid hobble).

Turtles All The Way Down concludes the album on a dry joke. The title’s from Stephen Hawking, via any number of sources. It covers infinite regression (handy for loopers), desperate mythologizing and arguments stretched thin. The music itself is fired off from on the abstract coil of a steel-strung guitar lick in which jazz, blues, minimalism and an awkward all-ways dash combine in a way which would’ve raised a sour grin from John Fahey. This quickly moves into a gnarly munching electric drone, ghostly post-rock keyboards and spacious drum clatter. It’s a last-minute hollowing out of what’s gone before, the sounds and atmospherics recalling the anxious small-hours cruises of Bark Psychosis (sliding past the red lights at 3am, somewhere close to home but never in a stranger place).

It’s as if Darkroom have suddenly stopped, shaken awake, and reminded themselves not to let us settle into too much comfort. Much of the music on ‘Some Of These Numbers Mean Something’ may have dropped out of the previous interstellar char-and-chill in order to embrace a more human-scaled and earthbound warmth. Darkroom aren’t forgetting that the inhuman extremes are still there, waiting indifferently just outside the envelope.

Darkroom: ‘Some Of These Numbers Mean Something’
Burning Shed, BSHED 0408 (5060164400059)
CD/download album
Released: 3rd October 2008

Buy it from:
Burning Shed or Bandcamp.

Darkroom online:
Homepage Facebook Twitter MySpace BandcampLastFM

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