Dalhous are back on Blackest Ever Black and as melancholy as usual. The Composite Moods Collection Vol. 1: House Number 44 on double vinyl LP deals with the idea of how people live together closely for long periods of time. This is expressed musically with longform drones, degraded samples and intimate synthesizer passages.
9/10 Laurie Staff review, 23 March 2016
More sonically and visually monochrome movements from Blackest Ever Black as they curate Dalhous’ first volume in the Composite Moods Collection, a series that may not actually be a series but sounds cool right? It attempts to capture the dynamic of two people living in close, secluded proximity and the jarring of mindsets in such a confined space.
It begins with some isolated, mournful ambient slithering melody that hangs in the air like a fine but worrying mist. Instant sadness right there. True to the concept, the record tends to smash apart what came before by alternating between these more droney greyscale landscapes and the sound that we encounter at tracks 3 & 4. The sound of the LP graduates to heavily processed beats probably made from the sounds of thunder that stutter in a ferocious and ominous kind of way, angry as hell during ‘Running Sheets’ but a little more restrained when ‘Ecstasy as a Mask or Shield’ hits. Some clearer, more synth-like tones abound here too, with bass notes plodding along the duration of ‘End of Each Analysis’, while more classic Vangelis melodies shine through like a lamp on the moors; suddenly we’re in a John Carpenter film. This is some real spook.
Full of scientific/mathematical track naming and minor key worship, Dalhous’ TCMC1 is the perfect accompaniment to the introspective and observational dronehead who won’t recoil at the sound and exclaim ‘eurgh! Bit depressing this’. You’re shopping at Norman Records though, so you’re used to every level of dark and sad by now. And we wouldn’t change it for the world.
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