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Andrew Liles, "My Long Accumulating Discontent"
The most important and pleasing aspect of Andrew Liles' latestfull-length is that it doesn't depend on any one formula, nor does itever venture into the realm of total and complete chaotic madness. Attimes the music is wonderfully melodic, featuring ballroom-like musiccirca 1930s or 1940s and, at other times, it is an admixture blossomingwith strange digital reverberations and analogue distortion.Nextera
Mostnotably, however, My Long Accumulating Discontentfeatures intelligible vocal parts and nearly unedited instrumentalpassages. His music is ever-expanding and finding new modes ofexistence. There is no sense here in talking about drones or noise.Though the music can be a collage of random samples and instruments attimes, this record also features a queer and convincing logic thatstems from its almost antique sound. Tracks like "Dissolved (Te WhareAo Aitu)" and "The Sour Accompaniment" make a direct appeal toantiquity and play on the notion that these songs are all part of somemorbid dream set far in the past; almost like Tim Burton's vision ofAmerica at the turn of the century. On the other hand, there are softand fluid pieces such as "The Children's Infirmary or Precious andSugar Foot" and "A Cold Spring in Summerland" that play off lessfamiliar sounds and structures. While sounding distinct and perhapsmore inviting than their musical neighbors, they ooze an aroma wovenout of dust, old age, and memories better forgotten. I have an inklingof an idea that there is some form of a band environment behind theseseventeen tracks—saxophones, nervous cymbals, melodic vocal parts, andnarrative elements all play a part in various places—and there is,periodically, a very direct and uplifting song structure that standsout among the other pieces without being a show-stealer. I doubt Lilesis forming a familiar band whatsoever, but the music that's usheredforth from his mind and those of the musicians used on this album isundoubtedly more structured and mesmerizing than anything else I'veheard from him. Despite this, he's also managed to maintain thehaunting, demonic, and perverse demeanor that makes his music so uniqueand alluring. It's the addition of new sounds and structures to hismusic plus his ability to manipulate those structures that make thisrecord stand out so sharply in my collection. Songs like "An UnkemptGarden or the Cod Cape" and "The Captain's Apprentice" are the mostemotionally stunning songs I've heard come from Liles and it is intheir shape and movements that they become so remarkable. It's a shamethat I missed this record in 2004, it deserves a great deal ofattention as it is one of the most exciting records I've heard from therealm of all music subconscious and spectral.
Mostnotably, however, My Long Accumulating Discontentfeatures intelligible vocal parts and nearly unedited instrumentalpassages. His music is ever-expanding and finding new modes ofexistence. There is no sense here in talking about drones or noise.Though the music can be a collage of random samples and instruments attimes, this record also features a queer and convincing logic thatstems from its almost antique sound. Tracks like "Dissolved (Te WhareAo Aitu)" and "The Sour Accompaniment" make a direct appeal toantiquity and play on the notion that these songs are all part of somemorbid dream set far in the past; almost like Tim Burton's vision ofAmerica at the turn of the century. On the other hand, there are softand fluid pieces such as "The Children's Infirmary or Precious andSugar Foot" and "A Cold Spring in Summerland" that play off lessfamiliar sounds and structures. While sounding distinct and perhapsmore inviting than their musical neighbors, they ooze an aroma wovenout of dust, old age, and memories better forgotten. I have an inklingof an idea that there is some form of a band environment behind theseseventeen tracks—saxophones, nervous cymbals, melodic vocal parts, andnarrative elements all play a part in various places—and there is,periodically, a very direct and uplifting song structure that standsout among the other pieces without being a show-stealer. I doubt Lilesis forming a familiar band whatsoever, but the music that's usheredforth from his mind and those of the musicians used on this album isundoubtedly more structured and mesmerizing than anything else I'veheard from him. Despite this, he's also managed to maintain thehaunting, demonic, and perverse demeanor that makes his music so uniqueand alluring. It's the addition of new sounds and structures to hismusic plus his ability to manipulate those structures that make thisrecord stand out so sharply in my collection. Songs like "An UnkemptGarden or the Cod Cape" and "The Captain's Apprentice" are the mostemotionally stunning songs I've heard come from Liles and it is intheir shape and movements that they become so remarkable. It's a shamethat I missed this record in 2004, it deserves a great deal ofattention as it is one of the most exciting records I've heard from therealm of all music subconscious and spectral.
