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Blackest Ever Black
Dalhous 'The Composite Moods Collection Vol.1: House Number 44' Vinyl 2xLP
£15.99
Blackest Ever Black
Dalhous 'The Composite Moods Collection Vol.1: House Number 44' Vinyl 2xLP
£15.99
House Number 44 is the first volume of The Composite Moods Collection, a new cycle of Dalhous recordings that examines the relationship between two individuals co-habiting in the same confined space - their interactions, their sense of self and of each other, and the pregnant space between.
The title of The Composite Moods Collection nods to the world of film and library cues, riffing on the utilitarian idea of music 'to suit the mood' and the appealing if archaic notion that a 'mood' can be a discrete or fixed thing, a unit of feeling.
Longtime followers of Dalhous will observe that House Number 44 contains some of their sparsest, most malevolent-sounding electronic music to date (see especially the brooding synthesizer throb of Response To Stimuli'and End Of Each Analysis') but some of their most disarmingly beautiful too, with indelible melodies and atmospheres as deep as thought: Methods of ðlan', On A Level', the elegiac Lines To Border'.
Marc Dall's enduring affection for neo-noir film scores of the 80s and early 90s, with their gleaming electronics and submerged existential torment, is more palpable here than ever, and you may hear echoes too of Klaus Schulze, Pete Namlook, or Eno's The Shutov Assembly - but Dalhous continue to plot their own course, obsessively and meticulously, oblivious to contemporary trends and unconstrained by historical influence; driven, indeed, by their own demons.
The title of The Composite Moods Collection nods to the world of film and library cues, riffing on the utilitarian idea of music 'to suit the mood' and the appealing if archaic notion that a 'mood' can be a discrete or fixed thing, a unit of feeling.
Longtime followers of Dalhous will observe that House Number 44 contains some of their sparsest, most malevolent-sounding electronic music to date (see especially the brooding synthesizer throb of Response To Stimuli'and End Of Each Analysis') but some of their most disarmingly beautiful too, with indelible melodies and atmospheres as deep as thought: Methods of ðlan', On A Level', the elegiac Lines To Border'.
Marc Dall's enduring affection for neo-noir film scores of the 80s and early 90s, with their gleaming electronics and submerged existential torment, is more palpable here than ever, and you may hear echoes too of Klaus Schulze, Pete Namlook, or Eno's The Shutov Assembly - but Dalhous continue to plot their own course, obsessively and meticulously, oblivious to contemporary trends and unconstrained by historical influence; driven, indeed, by their own demons.
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