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Alan Courtis / Aaron Moore – Bring Us Some Honest Food

Dancing Wayang

Alan Courtis / Aaron Moore - Bring Us Some Honest FoodThe third album turmbling forth from the fertile pairing of Alan Courtis (Reynols and more) and Aaron Moore (of Volcano The Bear, Dragon Or Emperor, Invisible Sports, Textile Trio, etc) follows on from the phonographic slurs of last year’s KPPB with four new tracks which find the duo pushing further at the avant-garde fringes of ludic surrealist interplay.

For Bring Us Some Honest Food, while the post-production of each side of the LP was undertaken remotely in Brooklyn and Buenos Aires respectively, (as with their first two albums), Courtis and Moore recorded their music for the first time together in a studio in London. This serves to give the album a heightened sense of

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BJ Nilsen & Stilluppsteypa/Anla Courtis – Golden Circle Afternoon

Editions Mego

BJ Nilsen & Stilluppsteypa/Anla Courtis - Golden Circle AfternoonRecorded across two continents and one island not exactly in between, as well as in various environments on tour in Europe, BJ Nilsen (AKA Hazard), Stilluppsteypa and Anla Courtis (from Reynols) each bring their own particularities to the jump-cuts and drone-fades of Golden Circle Afternoon.

Of course, it’s often difficult to determine who might be responsible for what – some pass notes are offered up, but they’re almost as obscure as the music. The theme is travelling, so taking the album as a journey, it’s a fairly relaxed one at first, slurred and processed voices circling with intent to drone, clatters and clacks gearing up for ignition and making an arrhythmic procession through the lysergic straits of audio

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Courtis/Moore – KPPB


Courtis/Moore - KPPBAlan Courtis (of Reynols fame) and Aaron Moore (of Volcano the Bear) are at it again… colluding; colliding… hot on the heels of Brokebox Juke and a live document comes this new collaboration, a two track, 42 minute journey of differing tastes/textures and expanding ripples between the album’s epicentres of Buenos Aires and Brooklyn.

“King Pancreas” starts in mournful blowholes riding cymbal sheens, leaking dischords thrown unexpectedly to military snares in full execution roll. The saxy pendulum swings the betweens like a cabaret boa on a spot-lit performer on the cusp of something death-defying. The hovering heads of the cover looking on astonished, oooh(ing) like comical terrorists, loose purple wires popping out of their pineal glands. Wobbling button eyes affixed on the dislocations bingo kicking

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