Aural Delights 445

Hour One

Hour Two

  1. Elli De Mon “Downhearted Blues” from Countin’ The Blues (2021)
  2. Jim Bower “When David Bowie Died” from Life Support (2021)
  3. Fly Pan Am “Grid/Wall” from Frontera (2021)
  4. Loscil “Lux” from Clara (2021)
  5. Physical Wrecks “Common Sense Eludes” from Is it Too Late? (2021)
  6. The Moodists “Double Life” from Two Fisted Art (1980 – 1986) (2007)
  7. Victorian Tin “Tired” Single (2021)
  8. Dark Bird “And It All Ends Well” from Out Of Line (2021)
  9. Elli De Mon “Shave ‘Em Dry” from Countin’ The Blues (2021)
  10. Kohoutek “Double Star” from Jurad (2021)
  11. Horace Andy “She Say (Dubjestic Version)” from Broken Beats (2021)
  12. Fly Pan Am “Body Pressure” from Frontera (2021)
  13. Loscil “Vespera” from Clara (2021)
  14. The Moodists “Can’t Lose Her” from Two Fisted Art (1980 – 1986) (2007)
  15. Dark Bird “Ghost Out Of Line” from Out Of Line (2021)
  16. Eleventh Dream Day “Since Grazed” from Since Grazed (2021)
  17. Elli De Mon “Dope head Blues” from Countin’ The Blues (2021)
  18. Green on Red “Apartment 6” from Green on Red (1982)
  19. Loscil “Clara” from Clara (2021)
  20. The Moodists “Six Dead Birds” from Two Fisted Art (1980 – 1986) (2007)
  21. Fly Pan Am “Frontier” from Frontera (2021)
  22. Atomic Rooster “Devil’s Answer” from In Hearing Of (1971)

  • Elli De Mon – Elli de Mon may not be so well-known in the UK, but for the best part of the past decade she’s been thrilling blues audiences across Europe with her unique take on the form. To say she’s a blues singer or blues guitarist is putting it too simply: rezophonic guitar, drums, bells, voice and saturated sound – she is, in every sense, a real one woman band.
  • The Moodists – Australian post-punk band. They were formed in late 1980 by Dave Graney on lead vocals, Clare Moore on drums and Steve Miller on guitar, all from punk group the Sputniks. They added bass guitarist Chris Walsh in early 1981, and in April 1983 added guitarist Mick Turner (ex-Sick Things, Fungus Brains). They issued their sole studio album, Thirsty’s Calling, in April 1984. Turner left in January 1985 and the group disbanded in 1987. In 2003, a compilation double CD, Two Fisted Art, was released on the W.Minc label[2] – run by Miller with Graham Lee – and the band reformed for a limited number of live performances in Melbourne. Two Fisted Art featured one disc which collected most of the band’s studio recordings; the second disc was live and unreleased material from 1982 in Melbourne and 1984 in London. In 2004, a DVD, The Moodists Live in London, of a performance recorded for British TV in 1984 was released by Umbrella Entertainment. The band were asked for new contributions, and reconvened for a filmed interview for the disc, as well as providing film of another, more raw performance at The Haçienda in Manchester.
  • Horace Andy – Although his merits as a roots reggae singer go back to the 70s, Horace Andy has always loved experimenting: he recorded two albums with the British dub master Mad Professor (who also transformed Massive Attack’s “Protection” into “No Protection”); for a track on the “Inspiration Information” series by Strut Label he let house master Ashley Beedle work with his voice. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there’s Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol’s musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name
  • Fly Pan Am – Fly Pan Am, one of Constellation’s most beloved artists, have composed some of their most direct, visceral and immediately satisfying for the acclaimed contemporary dance piece FRONTERA. Juxtaposing stern foreboding electronics and minimalist motorik avant-rock, the Frontera studio album superbly captures the bristling, sculpted, intensely evocative live score that Fly Pan Am developed in close conception and collaboration with Dana Gingras and her Montréal-based dance troupe Animals Of Distinction. The result is an immediate dose of krautrock polyrhythms and searing guitar, interspersed with atmospheric soundscapes and glitched-out musique concrète.
  • Eleventh Dream Day – First album for six years and their 13th overall
  • Physical Wrecks – Chris Lambert; vocals; Alan Wild; Drum Programming, Bass, Guitar, Piano; Ken Park; Bass Synth, Keyboards. Formed in1976 after seeing the Damned at the Electric Circus. The original band had short explosive life but re-formed to play the 2015 Deeply Vale reunion gig, in 1977 they were the first punk band to play the festival. The band now operates as three piece, we retain our punk ethos but the sound has developed and was recently described by ex Drones guitarist Glenn Jones as Lancashire Gothic. The new album ‘Is It Too Late’ recorded over the past year is due out now on Bandcamp.
  • Jim Bower – from the forthcoming album Life Support. The video features the Leeds-based post-punk singer-songwriter’s face woven into a series of iconic Bowie album covers. “I thought this was a great visual idea,” says Jim. “Bowie fans will either love it or be outraged! I like to think the man himself would have approved.” On the surface, “When David Bowie Dies” is a heartfelt tribute, but Bower’s trademark dark undercurrent is present. “Bowie’s death in January 2016 seemed to mark the beginning of an ugly time, as though everything seemed to fall apart without him. So it’s as much about Brexit, Trump and Covid.”
  • Victorian Tin – new single on Everlasting out on 1st June.
  • Loscil – The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan’s compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album’s title comes from the Latin for ‘bright’: a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”
  • Green on Red – Green on Red was an American rock band, formed in the Tucson, Arizona punk scene, but based for most of its career in Los Angeles, California, where it was loosely associated with the Paisley Underground. Earlier records have the wide-screen psychedelic sound of first-wave desert rock. From the debut album
  • Dark Bird – Toronto’s ROAN BATEMAN, before the pandemic was declared the intention for his long-running DARK BIRD project was to assemble a full band for the first time in 13 years and – having existed solely as a home recording concept to date – head into a studio to collectively craft OUT OF LINE, an album that had begun to evolve at the beginning of 2020. But needs must, so rather than await an uncertainly distant opportunity to realize his ideal vision for the album, Bateman ploughed on, largely solo, harnessing and channeling what he describes as “all the crazy 2020 energy” he could muster to advance and complete OUT OF LINE. Despite the unprecedented circumstances forcing the 9-song album to be created in relative detachment from his prospective collaborators, the pandemic’s silver lining for Bateman comes with the facts that he has taken a significant leap forward in terms of personal home recording achievement and, by presenting “the many faces of DARK BIRD as one fully-formed, unified sound,” forged the most beautiful collection of his dreamy psychedelia yet unveiled. Aided with backing vocals on three cuts by Bateman’s life partner, the acclaimed free-roaming artist EIYN SOF (Olde Nightrifter/The Hologlyph/Springskull DIY label); MICHELLE BRESLIN (Lostworldsounds) on backing vocals, plus guitar on Stranger, and fellow psych-rock adventurer STEPHEN KEEPING (Sadoceanspacebear/Squirrel) contributing additional drum programming on the opening And it All Ends Well and closer, This is It, Bateman otherwise handles lead vocals, guitar, bass, drums and drum machine, as well as the arresting sleeve design.
  • Kohoutek – While they have released a decent number of cassettes & CDs, Jurad is only the fourth vinyl album released by this long-running DC-to-Philly-based space-juggernaut. Recorded by a quartet iteration of the always mutating ensemble, the music on this one veers between the kind of psych-prog wallow for which Kohoutek is most often celebrated, and the less formally rockoid improvisational proclivities they sometimes display. The session for Jurad went down at Philadelphia’s Sex Dungeon studio in 2012 and resulted in three long tracks. The shortest one, “Cosmic Grease,” opens the B side in classic Kohoutek style. John Stanton’s guitar balances on the cusp of scum and space, spewing fat raw gobs of string-urk across a thick steady surge of circular bass/drum/synth hunch. A pretty nice way to fire it up. “Double Star” follows with electro-squigglage sluiced amidst much more delicate guitar filigree, a lighter rhythm section pulse and drones of presumed synthetic origin. It has a bit of Germanic feel, along the lines of UA-era Popol Vuh or something. Like taking a deep breath of night air during an electrical storm.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s