Gizeh (CD) / Pleasance (Vinyl)
The title track pins you early on in fuzzy cushions and muted percussion, this elastic line of rhythm stitching the goods as vaporous panthers prowl the collaterals. Claire Brentnall‘s vocals make a brilliant foil to Aidan Baker‘s shoegazery sensibilities and pedal prowess.They add a certain haunted opulence to the proceedings, hurling things nicely in and out of focus in water-coloured splashes of narrative. Gorgeous contours that remind me of Louise Trehy‘s short-lived Swallow project, offset by hushed kosmische betweens that tease the main offerings in chordic diffusion and fragmentary bursts of Crescent or Movietone semi-abstraction.
It comes as no surprise that
Delirious Things originally ignited as a homage to the dreamy verve of
4AD‘s
This Mortal Coil,
Cocteau Twins and ’80s new wave pioneers
Durutti Column; and also
Section 25, a foundation that the sanguine moodiness of “Dead Languages” overtakes completely in a heavy-hued codex copydex(ed) in breathless, gasping dualities, heady details that metaphorically fling your eyes through its interjecting spirals. A headphone must whose snowdrift textures are later swept up in the dreamy propellants of “Wingless”. Spangly circulars lip-servicing
a bluebell knoll gorgeousness operatically eaten in fedback echoes and layered washes. Words pierce, blur, euphorically snipped in pro-tooled peculiars and enveloping conjecture, refrained in curling kittens and dispersed arcs.
The
details are subtle, seductive, skittle into play as quickly as they shake definition. A sleight of hand that shimmers in slipping harmonics, halos and curving equines. A peppered lazuli that “Shivering” finally nails in birched-backed percussives and chugging textura soliciting the bewitching
Cranes-like vocal that rides its roughly hewn waves straight to your heart.
-Michael Rodham-Heaps-
The title track pins you early on in fuzzy cushions and muted percussion, this elastic line of rhythm stitching the goods as vaporous panthers prowl the collaterals. Claire Brentnall‘s vocals make a brilliant foil to Aidan Baker‘s shoegazery sensibilities and pedal prowess.They add a certain haunted opulence to the proceedings, hurling things nicely in and out of focus in water-coloured splashes of narrative. Gorgeous contours that remind me of Louise Trehy‘s short-lived Swallow project, offset by hushed kosmische betweens that tease the main offerings in chordic diffusion and fragmentary bursts of Crescent or Movietone semi-abstraction.
