Aural Delights 130

Dedicated to Paul Burbery.


  1. Malka – A Flock Of Crows – The Constant State (Bandcamp : 2nd March 2015)
  2. Art Bears – First Things First – Winter Songs (Ralph Records : 1979)
  3. Machinista – Brandbergen, Stockholm via Kalmar til Malmö (Original Mix) – Garmonbozia (Analogue Trash :  15th June 2015)
  4. Nina Simone – Black Swan – At Carnegie Hall (Colpix Records : 1963)
  5. Yuppies – Across The Prairies/A Ride – Yuppies (Dull Tools : 2013)
  6. Baby Jesus – Nothing’s For Me – Baby Jesus (Bandcamp : 2014)
  7. Magic & Naked – Pictures Of An Imaginary Desert – Split 7″ (Six Tonnes De Chair : 2015)
  8. Duck Duck Grey Duck – Camel Boots – Split 7″ (Six Tonnes De Chair : 2015)
  9. The Orange Peels – Satellite Song – Begin The Begone ( Mystery Lawn/Minty Fresh Records :2015)
  10. Death Shanties – O! Where Is St George? – Crabs ( Bomb Shop :2014)
  11. Chon – Knot – Grow (Sumerian Records : 2015)
  12. Espectrostatic – Escape from Witchtropolis – Escape from Witchtropolis (Bandcamp : 28th October 2014)
  13. Thee Headcoats – Troubled Times – Elementary Headcoats (Damaged Goods : 2000)
  14. Marie Davidson – Boulevard Tachereau – Un Autre Voyage (Holodeck Records : 14th April 2015)
  15. Luxuria – The Beast Box Is Dreaming – Beast Box ( Vertigo : 1990)
  16. Arzachel – Queen Street Gang/The Garden of Earthly Delights – Arzachel (Akarma : 1969)
  17. Chra – Soca Valley – Empty Airport (Editions Mego : 2015)
  18. Fink – Fall Into The Light – Horizontalism (R’coup’d : 18th May 2015)
  19. Landshapes – Stay – Heyoon (Bella Union : 4th May 2015)
  20. Memphis Dawls – Please Don’t Leave Me Now – Rooted In The Bone (Madjack : 2014)
  21. Mark Corrin – Cosmic Blue – Cosmic (Valentine Records -Bandcamp : 18th May 2015)
  22. Ion Morph & Loop-Aznavour – Bad Apple/Dancing Bear – Single (German Shepherd – Bandcamp : 29th May 2015)
  23. Captain Beefheart & His Magic Band – Ant Man Bee – Trout Mask Replica (Reprise : 1970)
  24. Luis Drayton – Draw Blood/Look Inside – Single (Fusion – 2oth May 2015)
  25. Dave Graney and the Coral Snakes – It’s Your Crowd I Hate – The Mercury Years 1994-1997 (Universal : 2013)
  26. B.B. King – Worry, Worry, Worry – Live In Cook County Jail (MCA 1980)


  1. New York City-based psychedelic dreampop band MALKA present their debut EP, The Constant State, released on March 2, 2015. Recorded at both APT Studio (NYC) and Elohino studio (NJ), mixed by Darko Saric, and mastered at 825 Studios by Grammy Award-winning engineer Butch Jones (Madonna, Talking Heads, Iggy Pop, The Gun Club, B-52s),The Constant State takes listeners on a genre-melding journey, ebbing and flowing through the realms of dreampop, post-rock, nugaze, and psychedelic rock. The songs are evocative both musically and lyrically, touching on metaphysical, existential and interpersonal subject matter with an honesty that resonates to an emotional core. Their music is a reflection of the triumph and tragedy of the world, compelling us to look deeper into the realms of our consciousness. Malka is trying to stretch the concept of songs to make them sound more like emotional lapses of time. The vocal melodies assume an instrumental form and transcend language, adding transparency to bilingual Spanish-English lyrics shared between three lead vocalists. The Constant State is on Bandcamp, as well as iTunes and streaming through Spotify, Rdio, etc. The single ‘Mirame’ is available as a free download via Noisetrade at
  2. The Art Bears’ second album consists of 12 songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus’s vocals vs. everyone else. As usual, Chris Cutler’s lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin.
  3. Swedish electropop sensations Machinista are back with their second album, Garmonbozia, the follow-up to 2014’s critically-acclaimed Xenoglossy. Featuring the sublime vocals and brilliant, soul-searching lyrics of John Lindqwister (Cat Rapes Dog, Basswood Dollies) and the sweeping, driving beats and synths of Richard Flow (Vision Talk, Haze For Sale), Garmonbozia is a collection of 10 tracks of unique melancholic, dark synthpop/electronica with an almost effortless grace and beauty. Mixed, produced and recorded by the band themselves, Garmonbozia is an instant classic, hooking the listener from the first few seconds of “Picture Frame Eternity”, into “The Bombs” (featuring guest vocals from Mårten Kellerman of Statemachine) right until the final refrain of “Train” and is sure to win the band many new fans, as well as pleasing those that have already discovered this up-and-coming Swedish act, who are going from strength to strength.
  4. “At Carnegie Hall” is a live album recorded at Simone’s first solo appearance at Carnegie Hall in New York, on April 12, 1963. Miss Simone works her particular brand of magic in a mysterious and awe-inspiring way. The album has a broad choice of material all delivered in dramatic fashion. This was Nina Simone’s third Carnegie Hall appearance. Her debut appearance was on May 21, 1961, when she shared the stage with her great friend and fellow civil rights activist Miriam Makeba. Having performed here twice previously, April 12, 1963, marked Nina Simone’s headlining debut. It was not to be an easy transition from sharing to topping the bill. Writing in Nina Simone “Black Is The Color …” Andrew Stroud – Simone’s one-time husband and manager – recalls, “In 1963, Nina was adamant about making a solo appearance at Carnegie Hall in fulfillment of her childhood dream as the first black female classical pianist. None of the concert promoters would undertake such a presentation because they did not believe she could carry off a solo concert. Therefore, when I resigned from the NYPD, I took my pension rebate and, on the advice of experts in the music industry, hired Felix Gerstman, New York City’s premier concertmaster, to manage the presentation.” Joining Nina Simone that evening were guitarists Alvin Schackman and Phil Orlando, Lisle Atkinson on bass, and drummer Montego Joe. Simone demonstrated the unclassifiable nature of her artistry that evening with performances of jazz, soul, spiritual-tinged tunes, and – displaying her background in classical music – a theme on Saint-Saëns’s Samson and Delilah.
  5. Yuppies was formed in the summer of 2007 by Jack Begley, Kevin Donahue and Noah Sterba in Omaha, Nebraska. United by mutual teenage boredom and a desire to perform live, the three became known for sloppy, frantic, yet energetic live performances and worse-than-dirt low-fidelity recordings. The first single, released on Grotto Records in 2008, captures the immediacy and urgency of their catchy, raw basement recordings. After cutting their teeth touring basements all over the midwest, Yuppies added Jeff Sedrel on bass in 2010. The addition of Sedrel allowed the band to evolve their sound out of the simplistic pop tunes into something more mature, thought out and robust. With the bands initial energy and rawness still intact, a new realized, cohesive sound can be heard on Yuppies’ debut LP on Dull Tools. Omaha writer Tim McMahan asserts, “Yuppies don’t so much play songs as perform ebb-and-flow music that, when it does have a semblance of songcraft, can be driving and catchy and inspired. The rest of it will leave you bent over, coughing up blood.” Accolades for the band have reached beyond the confines of Omaha. A. Savage of Parquet Courts, who is releasing Yuppies’ eponymous LP via Dull Tools informs that Yuppies are “heavily indebted to the loner-poets that came before them, as if the band is playing This Nation’s Saving Grace era Fall via William Burroughs. Yuppies make no effort to guide you along their dreary tour of the midwest’s industrial slums, from the onslaught, you are expected to keep up the pace.”
  6. Baby Jesus was formed after an intense trip to India. With the vision of raw garagerock from the bowels of the 60’s with a mixture of intense noise of instrumental and guttural sounds.
    Influences coming from the many volumes of Back From the Grave, 13th Floor Elevators, Velvet Underground and also music of today.
  7. Belgian Psyche Pop Band
  8. With their Magical Doo-Wop, Lake Geneva Soul-Surf-Garage, two-beat grooves and ancestral rhythms, the combo Duck Duck Grey Duck is driven by a rock’n’roll fury – this modern disease, desires hidden by eternal grooves.
  9. The Orange Peels is a Northern California band known for its ability to melodically evoke images and atmospheres of life on the West Coast. The group uses standard rock instrumentation to produce soundscapes that are at once sweeping and jarring, giving them a unique place between orchestral pop, rock and indie-pop. Though the band’s lineup has changed with each successive album, founding members Allen Clapp and Jill Pries have been the nucleus. In fact, dramatic upheavals in membership have ensured the band never releases albums more frequently than four years apart. The group currently features Clapp, Pries, Gabriel Coan and John Moremen. On the night of their last show on the Sun Moon tour, Jill and Allen were in a serious highway accident. Stopped in traffic, the two were hit by a drunk driver going 60 mph. Surviving the crash with no serious injuries, the two decided to fulfill a decade-long dream by relocating from Silicon Valley to the Santa Cruz Mountains. One last session was recorded at the Eichler, which spawned almost the entire song count for a new album. After moving to a hexagonal house in Boulder Creek, CA, in spring of 2014, the group reunited in the mountains to finish overdubs and mix the album. Begin the Begone continues in the compositional style of Sun Moon, where collaboration was key, but diverges in atmospherics, which play an important role in the sound of the album.
  10. Death Shanties is a mixed media group featuring Alex Neilson (drums), Sybren Renema (sax) and Lucy Stein (painting/ projections). The group combine references to Medieval music, Sea Shanties and Field Hollars with the ecstatic cry of classic 1960’s fire music. Stein uses primitive devotional images, food stuffs and even her own hair in visceral, highly textured painted projections making Death Shanties a unique and immersive live experience.
  11. CHON are a four-piece math rock/progressive band from San Diego, California that formed in 2008. They play an intricate style of music which is mostly clean and melodic, and predominantly instrumental. They released their debut album Grow this year,
  12. Instrumental transmissions by Alex Cuervo of the Hex Dispensers (a known ectoplasm wrangler).
  13. From the singles collection covering 1990-1999.
  14. One of the finest artists rising from the electronic dark-synth scene in Montreal. Her voice is a stark half-spoken monotone which will tell you stories from which you can’t escape unchanged. Intense storytelling with suffocating tales that are both intimate and melancholic. Un Autre Voyage (translated as “Another Journey”) is a collection of songs based solely on true events, providing the listener with an unfiltered primary account of Marie’s intrapersonal experiences. This act of self-journalism serves as a psychological cleansing that evokes an authentic sense of warmth and empathy, rendering Un Autre Voyage as Davidson’s most transparently honest artistic document yet.
  15. Luxuria was a  band made up of vocalist Howard Devoto (formerly of Buzzcocks and Magazine) and instrumentalist Norman Fisher-Jones, aka “Noko.” The band was active in the 1980s and early 1990s. Devoto and Noko met through Pete Shelley, supposedly bonding over a competition to read Marcel Proust (Noko won). The two recorded six collections of material. In 1987, they signed to Beggars Banquet and formed Luxuria. In 1988, they released their debut album, Unanswerable Lust. Their second and final album, Beast Box, was released in 1990.
  16. Comprised of what was then the band Uriel, this was the earliest grouping with of Steve Hillage and Dave Stewart. Arzacehl had two things going for it which helped it transition to the CD era: the music is a head above most other psych rarities, and the four musicians later achieved a degree of  success within the ’70s progressive rock “Canterbury scene”. Hillage  went on to play in Gong and then have a successful solo career. The other 3 members Dave Stewart, Clive Brooks and Mont Campbell formed the influential Egg.
  17. Chra’s first LP on Editions Mego may be read as a reference to Brian Eno’s ambient classic, though this time we find ourselves in a territory of transit that sounds like a dystopian swan song on civilizatoric debris – a heteropia in which the listener restores himself in a surrounding that is emptied of human remains, having left just some ghostly echoes behind.
    Chra aka Comfortzone-Labelfoundress Christina Nemec has traced out a post-anthropocene area in which acoustic entries of field recordings are stratified in layers of deconstructed noisescapes. Partly interspersed with clunky technoid bass-lines, an introspective space is opened, which excavates in a discreet and subtle manner, layers of abandoned wasteland. Nemec, who is a member of various band projects like Shampoo Boy (together with Peter Rehberg and Christian Schachinger) or the female berzerker formation SV Damenkraf as well as Pasajera Oscura, has succeeded in producing a significant LP, that merges dark techno and industrial with found sounds and ambient scapes, resulting in a compositoric minimalism that is ushering us in a state of existential trance. (promo writer appears to have swallowed a Thesaurus).
  18. Following the success of last year’s Hard Believer album—which saw the trio known as Fink melding Fin Greenall’s ruggedly lush vocals with a slow-burning and steady-thumping array of string plucking (Guy Whittaker) and cymbal smashing (Tim Thornton)—they ring in 2015 with Horizontalism. Presented as a collection of dubs from Hard Believer, the re-worked material takes on a decidedly more mysterious turn: vocals dangle and loop precariously over raw edges of murky sound, lasers oscillate and waves crash, percussion click-clacks somewhere far away, and the listener somehow draws nearer to the core from which Fink draws the sonic intimacy for which they’re so well-known. Inspired by Greenall’s new home in Berlin and his resurgent interest in electronic production, his series of mixes may stand in stark contrast to the bands musical output of the past years but the listener finds themselves at the same intersection of impassioned storytelling, manifest emotion and darkly beautiful ambience that Fink fans have come to expect.
  19. Lost practices, hidden worlds, secret topics – Landshapes shift around the dark, magical borders of alternative culture, soaking up poetry and peccadillos, high art and low desires. On their second album Heyoon,  Landshapes explore everything from a 17th Century tale about migratory space geese; tragic Dutch artist Bas Jan Ader who died on a failed Atlantic crossing, the desire to inhabit another’s psyche and nights out at drag bars. With Landshapes, anything could happen. Previously Lulu And The Lampshades, 2012 saw them accrue a wealth of guitar pedals, a fascination for mind-expanding noise and, following a mis-billing in Paris, a new name: Landshapes. 2013 debut Landshapes album Rambutan was a voyage of discovery as they hunted out this elusive new soundscape. Electronics clashed with traditional shanties, eastern atmospherics met spaghetti western overtones, nothing was out-of-bounds. Described by one reviewer as “conjuring up images of twisted Tim Burton nighttime fairgrounds where all the rides are manned by Tom Waits”, it combined art, folk, psychedelia and math-rock in a beguiling morass of ominous strings, oddball found-sounds and insidious melody. The band were still mapping Landshapes though. Over the next year of intense rehearsals and live outings – including CMJ, Green Man and End Of The Road, they honed the self-professed “unleashed and loud” sound into a focused tornado. They worked with an open palate and freeform approach. “Making patterns, moods, and noises, enjoying conflicts of sound that can be explored and then resolved.” Key to this development was a fortnight spent in a cottage in the woods of Cornwall in September 2014. “Something about all that fresh air, sea, and woods and fire manifested in something much darker and much more menacing than anything we’d written so far,” Luisa explains. “That’s when it felt like we’d started the album.” After road testing the new material and earning all-female mosh-pits in the process, the band hit Soup Studios in Limehouse with producers Giles Barrett and David Holmes. Here two more songs came together including lead single Moongee, a masterpiece of hallucinatory sludge rock inspired by interplanetary wildfowl, a tale by 17th century Bishop Francis Godwin recently re-imagined by artist Agnes Meyer Brandis. The resulting album Heyoon is astounding, both sonically and thematically. If you want to take the highbrow road through this dense maelstrom of psychedelic math-fuzz beauty, then focus on the lustrous, unsettling lounge drone of Fire. A reflection of a Lydia Davis story called Forbidden Subjects, the track documents a post-break up friendship. “Conversations are so barbed and loaded, it’s the fire of conflict but also the memory of the fire of chemistry.”
  20. Holly Cole, Jana Misener & Krista Wroten began creating music together in high school. Although the surroundings were less than romantic, their sound was powerful even then. The three rejoined after roaming the country for college and other bands. The girls took some ques from artists like Emmylou Harris, Dolly Parton and Linda Ronstadt. Folk and classic country provide a foundation while the heavy string laden R&B songs from Otis Redding to Minnie Riperton make up the walls and roof. Including Jonathan McLaren on vibraphone and drums and Nahshon Benford on trumpet and euphonium allowed the band to explore more territory. A typical show can take a listener from a warm morning in the arms of a lover to a cold night alone lost in a desert and, thankfully, back again.
  21. Manchester based musician and DJ with the fourth in a series of EP’s.
  22. Another collaboration between Ion Morph and Loop Aznavour sees them exploring the history of Apple Records and musing on control and fidelity in the music business. IM says “Imagine being Barry Wom imagining being Ringo Starr , only to find he was in a Rutles tribute act called Oasis. Bad Apple is the bite into diseased fruit that appears perfect on the outside but leaves you retching in disgust. Loop provides a Martinesque soundscape to add period charm. Dancing Bear concerns itself with choices , with good people, with bad people , they’re out there , the latter often masquerading as the former , be wary of letting them yank your chain!”.
  23. The album that changed the world……!
  24. Founded + played bass in tranny punk band Six Inch Killaz from 1994-99. Released debut album “Pretty Sick” in Aug 2011, followed by “Dub Sick” and “XXX Radio Sessions”. Also released the albums “Glamoflage” and “Glamoflage: Remixes” with Toska Wilde, as well as “Rising Scum” (recently rereleased on Fusion Records), “Counter Attack Live” and “XRP Radio Presents… The Least Appalling Of Pus Galore: The Luis Drayton Sickness Shot”. First two eps on Fusion Reords, “Breeder Queen” and “Princess Despair” out now. “Inner Life” album due for release in mid June.
  25. From the Crayfish Palace Royalty Rarities Disc from the Mercury Compilation. The song would eventually become “Morrison Floorshow” which appeared on the Soft ‘n’ Sexy Sound album.
  26. B.B. King on fire in front of 2,000 inmates at the notorious prison. One of his best albums and a great record of the man in fine form. RIP.

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