Inside Tracks: Amongst The Pigeons – Those Stolen Moments

It’s been seven years since the last Amongst The Pigeons album, and five years since Daniel Parsons decided to call pest control and exterminate the ATP project. After a spell working in the duo Exactly Zero, Daniel found himself idling away the time in a local café and before he knew it he was donning his characteristic pigeon mask all over again, and Those Stolen Moments was the eventual result.

In this exclusive feature for Further., Daniel talks us through the nine new tracks on a record that is distinctively ATP but more acutely focussed on its creator’s own instincts rather than deploying guest vocalists. It is a record of continually-evolving electronic juxtapositions and thought-provoking contemplations on how we spend that most undervalued of commodities – our personal time.

Happy Beginnings

The album opens with ‘Happy Beginnings’.

The track started out as an instrumental but it never felt finished and I spent a long time working out what to do with it. Last year I started going to car boot sales and while looking through some vinyl I found an old record that taught children how to play instruments. The samples in this track come from that and work perfectly for the opening of the album.

The title for this one came from a conversation I had with a friend. He was talking about the concept of a ‘happy ending’ massage and said that in his mind it would be better to start with the ‘happy’ activity and then move onto having a nice relaxing massage.

Inflight Entertainment

The second track is Inflight Entertainment. This track was born on a flight to Poland using my iPhone and GarageBand. During the flight I created a 20-second loop which was sounding quite cool. When I got home I took the loop into my Shedio and fully fleshed out the track. A Shedio is a recording studio in a shed and mine sits at the end of my garden. It’s a magical place where time often stands still.

When I made my debut album and early EPs I used a lot of field recordings and still like to capture sounds while I am out and about. In the background of this track there are samples from the actual flight.

Perching

Back in 2014 I announced that I would stop making music as Amongst The Pigeons.

In the years that followed my friend Ollie and I made music under the name Exactly Zero (exactlyzero.co.uk). We would meet up each week and work on tracks but it was a slow process and in between our weekly meets I was starting to work on some new music on my own.

‘Perching’ was the first ‘new’ Amongst The Pigeons song and it really did come about by accident. One day I was sat in Perch (my local coffee shop) and I had my MacBook with me, I hit record and started capturing the background noise of the café. When I got back to the Shedio I cut up some of the clutter and created a little beat with the crockery and started putting synths over the top.

This track also has both of my kids voices sampled across the song. They enjoy coming out to the Shedio and if I am in the middle of recording I always try and get them to shout and sing into the microphone.

Polly Bee Gone

‘Polly Bee Gone’ is one of the heavier-sounding ATP tracks and became a bit of a nightmare to finish. I actually released an earlier version of this back in March on an ‘introductory’ album. My plan was to draw a line between the old ATP songs and the new ‘ATP 2.0’ music. I kept working on this song after that original release and managed to tidy it up a bit more and get to the stage where I was happy with it.

The song title came from the synth patch I was using which was a ‘PolyB’ sound.

I also made a video for this track which features me wearing one of my ATP Pigeon Masks while walking through Trafalgar Square. There was a very funny moment when a small kid was chasing a load of pigeons and they turned round to see a 6ft Pigeon towering over them disapprovingly.

Beautiful Negative Space

As I mentioned earlier I didn’t really plan to restart ATP, but once I had a few tracks, I started to question what I should do with them. Originally I was going to release a four track EP, then a five track EP and so on. It got to the stage where I had eight tracks and I thought I should stop but then I started work on this song and felt it would sit perfectly in the middle of the album.

It is one of the more mellow tunes on the record and originally I wanted to get guest vocals on it and turn it into a Robyn-esque tune. I don’t sing myself and in the past have been lucky to work with some awesome artists, but the more I thought about it, I wanted this album to be much more of a pure electronica set of songs. The next ATP releases will likely feature more guest singers.

At Any Opportunity

The album is called Those Stolen Moments as I wanted to capture the circumstances around how it was made. I have a full time job and a family so my ‘free’ time is limited and this album was made in those pockets of time that don’t really exist. I usually head out to the Shedio one or two nights a week and tend to work between 9 or 10pm and 2am. It’s a beautiful time of the day / night and I love being awake and creative while many people are asleep.

‘At Any Opportunity’ has a little sample at the start in which I try to sum up my feelings about making the most of time and seizing chances. There are times when it can be hard being a solo musician and you only have yourself to push you along to get music made. There can be times when self-doubt creeps in and you question everything you are doing.

Thinking Is Addictive

This track features part of an Eckhart Tolle speech about how thinking can be addictive and the importance of being able to stop thinking. What he says is very true and it fits so perfectly as an Amongst The Pigeons tune. There are some great synth and bass parts hidden away in this song. I always try to make my music do the unexpected and take people on a whirlwind journey as they listen to the songs. I also made a lyric video for this track which took ages to do.

I have no idea if Tolle would approve of this track but I like to think he’d appreciate it.

The 25th Hour

The title of this song again harks back to another example of making the most of time that doesn’t exist. In my mind the 25th hour is the extra time you create when you really push yourself to do more with your day and get stuff done.

This song was pretty much made in a single night and was born out of being utterly uninspired. I went out to my Shedio and was feeling quite fed up after a long week at work and didn’t really fancy doing anything at all. I started making the track and it all came together incredibly quickly, it was one of those nights where it got to 1am, then 2am and I thought I really should go to bed but couldn’t stop working on it.

For me that is the biggest thrill about making music. When you start, you effectively have nothing, but an empty page, and over a period of time you are creating something that didn’t exist before.

Water Into Whisky

Most of the songs on the album all clock in at under three minutes but on this closing track I allow things to take their time to unfurl.

It is fair to say that one of my favourite bands when I was growing up was Orbital. They have always heavily influenced the sound of Amongst The Pigeons which I think people may hear while listening to this song in particular.

This song started out as a little 10-second loop of random synth riffs. A few years ago my friend Adam (from Monkeyfist) came down to the Shedio with his euphonium to record on one of the Exactly Zero tracks. During the night we polished off a bottle of whisky between us and before we finished for the night we spent half an hour messing around with the synths.

A year or so later I revisited the loop we had made and started to stretch it out and build this song around it. It’s a slow build which leads into a more epic ending for the album and brings everything to a close.

Those Stolen Moments by Amongst The Pigeons is released November 15 2019 by Peace & Feathers.

Interview: Mat Smith

(c) 2019 Further.

Tears|Ov – A Hopeless Place

When I was a small child my parents bought a copy of a children’s music LP called All Aboard. It had a whiff of a K-Tel compilation about it, containing songs like ‘Right Said Fred’ by Bernard Cribbins, ‘Ernie’ by Benny Hill and ‘Grandad’ by Clive Dunn. Side one of the album opened with a version of ‘The Laughing Policeman’ by Charles Penrose. I suspect because of mishandling on the part of my mischievous toddler fingers, that track was irreparably scratched, right at the point where the jocular copper of the song started laughing. That looped chuckling left an indelible mark on my childhood, running through the fear I felt as I watched the original version of IT, through TV shows with canner laughter and pretty much right up to the point I heard ‘I Stand On The Cable’ and ‘Dancing Without’ by Tears|Ov.

Tears|Ov is a trio of Lori E. Allen (vocals, samples, sequenced percussion, piano, synth, noise), Deborah Wale (vocals, percussion, tube, synth, noise, scratching, spoken word) and Katie Spafford (cello). Although the three performed together as part of Allen’s 2016 album for The Tapeworm, Tears Of The Material Vulture, the catalyst for this LP was a performance commission by artist Wolfgang Tillmans as part of the South Tanks series that ran alongside his 2017 Tate Modern retrospective. These are not the pieces that Allen / Wale / Spafford performed, exactly, as these are tracks formed of a collective after-hours improvisation process wherein each is a discrete moment unto itself. Triggered initially by Allen’s foundation loops, Wale and Spafford are then free to respond as they see fit, creating a feedback loop that allows Allen to alter and answer in return.

The eight pieces here are powerful, driven moments that sound perfectly composed rather than carrying the scratchy, inchoate gestures that one normally associates with freeform music. The tracks mentioned earlier – ‘I Stand On The Cable’ and ‘Dancing Without’ – possess a rich, interwoven tapestry of sonic events, glued together as tight layers (pulsing electronics, clipped instructions reminiscent of ‘Revolution #9’, and that incessant, troubling laughter – which collapses into distress on the latter track). If these found sound layers appear skittish and randomised, Spafford’s cello and Wade’s spoken word, when placed next to Allen’s finely-wrought electronics on moments like ‘Trapdoor Ant’ provide a stentorian focal point to proceedings, even if they are almost immediately sliced through with brief snatches of noisy intervention.

On the whole, this is a dark and brooding album befitting of both its title and the two tracks with the same name that bookend the LP. Surprising, then, to find two tracks that are, at least in part, completely at odds with the prevailing tone of A Hopeless Place. ‘Overstimulated Arcade Rat’ carries a sci-fi edge reminiscent of Don Dorsey’s soundtracks for Disney attractions at Epcot, full of fizzing futuristic electronic energy and perverse optimism, while ‘Family Feudal’ begins with genuinely laugh-out-loud faux pas culled from shows like Family Fortunes, before being taken into a mournful conclusion by Spafford’s cello, angry loops and an oddly unsettling segue into Satie.

Taken as a whole, A Hopeless Place leaves an uncertain, unresolved impression on the listener. There are difficult themes at work here, if you search them out, hiding beneath the splotches of sonic colour that dominate the trio’s music. How you elect to interpret those, just as with any work of art, in whatever discipline, is entirely up to you. You can be horrified, despondent, amused, ignorant or – if you perhaps hear the echo of a terror that dominated your early years – deeply terrified all over again.

A Hopeless Place by Tears|Ov is released November 1 2019 by The Wormhole.

Words: Mat Smith

(c) 2019 Further.

Doug Wieselman – From Water

Clarinettist Doug Wieselman is one of those adaptable players that can alternate between New York’s music scenes effortlessly, straddling involvement with artsy bandleaders like Laurie Anderson and Yoko Ono, the left-of-mainstream pop of Martha Wainwright or the freedom of the city’s jazz firmament. From Water is a solo album consisting of several Doug Wieselmans in the form of a many-layered suite of eleven pieces whose melodies were inspired by water, beaches, rivers and hot springs.

Each piece here is led by a fluid, evocative melody operating somewhere on a continuum stretching between classical minimalism, delicate ambience and the most lyrical phrasings of jazz. Those melodies have a lightness of touch yet also a largesse and grandeur befitting of pieces often inspired by the vastness of oceans. It would have been all too easy for Wieselman to leave From Water precisely there, and it would have been compelling enough as an album were he to have done that. Instead, his approach was to add loops, layers, discordancy, drones, and, on ‘Tennessee Valley’, a whole-instrument technique involving vocalising rhythmic sounds through the reed. He also adopted a technique of playing predominantly deployed in Turkish folk music, giving pieces like ‘Gloria Fleur Madre’ an exotic mystique, like detritus arriving on the shores of the Hudson from the cargo of a sunken vessel running the historic trade routes of the Middle East.

The trippy phased effects on the standout ‘Moonhaw’ lend that piece a volatility and turbulence, reminiscent of standing on a beach during a storm, while the plaintive, relatively unadorned ruminations of ‘Salmon’ contain a gentle, laconic playfulness that ultimately concludes with rippling passages of echoing upper register note clusters.

One of the most haunting moments here is a stunning, muted version of John Lennon’s ‘Julia’, its instantly-recognisable lyricism offset by the subtlest of background processing to create a moment of calm, yet pensive, tranquility.

From Water by Doug Wieselman is released October 25 2019 by Figureight Records.

Words: Mat Smith

(c) 2019 Further.

YOVA – Moondog

YOVA are a five-piece group centred around the hypnotic vocal of Jova Radevska, whose near-whispered delivery is inflected with an effortless, mesmerising post-R&B soulfulness.

On their debut track ‘Moondog’, Radevska’s haunting voice is offset by a shimmering, sparse accompaniment from Alex Thomas (drums), Grumbling Fur’s Daniel O’Sullivan (bass, Mellotron and programming), Martin McDougall (kalimba) and PJ Harvey acoloyte Rob Ellis on Ondes Martenot. The result is something rooted in earthly concerns of forgiveness and emotional upheaval yet positioned with a grandeur that is entirely astral in its breadth.

Presaging a remix EP in November and a full album in 2020, YOVA today revealed the hauntingly noir Christian Barnett-directed video for ‘Moondog’, draped in vintage monochrome texture and jerky motion reminiscent of the earliest silent movies. Watch the video below.

Words: Mat Smith

Ernest Hood – Neighborhoods

A sense of personal yet universal nostalgia runs through Ernest Hood’s Neighborhoods: you overhear the playfulness of children’s voices; the natural birdsong, distant dog barking and cicada rhythms of endless summers; ragtime music playing on someone’s radio through a window; the opening and closing of porch doors that evoke a time when you’d spend all day out of the house, returning only to reload on snacks, grab a water pistol or let your parents know you were gong to be over at so-and-so’s house until it was time to reluctantly go to bed.

These are the sounds of youth, of innocence, of freedom, recorded from the purview of a Portland, OR jazz musician confined to a wheelchair thanks to contracting polio in his late twenties. Released in 1975 as a private LP pressing, Hood’s opus developed a long-standing interest in field recordings by augmenting those captured sounds with synthesizer and zither, instruments that he was drawn to when his physical limitations prevented him from playing the guitar with the same intensity that he had previously played.

The combination of the two elements – the captured and the created – is curious. On the one hand, his playing is filled with a vibrancy and clarity of texture and movement, occasionally slipping into the melodic dexterity begat from cutting his teeth in jazz, but mostly offering a sort of wistful, evocative accompaniment to his taped conversations and environmental sound. ‘The Secret Place’ has a gentle, rolling mournfulness, a languid tone full of both promise and regret; ‘The Store’ has a jaunty irreverence, the embodiment of the local, family-run Main Street store that predated the out of town mall and the emptying of traditional town life; the episodic synth interventions of ‘After School’ have a wonky, optimistic energy, full of retro-futuristic hope, redolent of pent-up kids being let out the school gate, homework-free and only the limits of their imagination to stop them.

The oddness of the juxtaposition comes in the sepia-tinted field recordings. These taped elements don’t necessarily lack fidelity, but they sound dated and quintessentially of their time. We are used to life being much noisier, filled with clamour, omnipresent traffic noise, the unholy chatter of incessant FaceTime / Skype / phone conversations and a sort of modern vernacular that seems like the most distant of cousins to that which Ernest Hood was recording in the mid-1970s. In celebrating a certain well-meaning voyeuristic and celebratory now-ness with Neighborhoods, Hood had knowingly created documentary evidence of an age that’s now slipping rapidly out of collective recollection.

Neighborhoods by Ernest Hood was originally released by Thistlefield / Rexius Records in 1975 and was reissued by Freedom To Spend on October 11 2019.

Words: Mat Smith

(c) 2019 Further.

Bremer / McCoy – Utopia

Utopia is the fourth album by Copenhagen duo Jonathan Bremer (bass) and Morten McCoy (keyboards and tape delay). Their music nods firmly in the direction of mellow jazz and vintage bossa nova while also hinting at classical formalism, the result being sublimely meditative and hauntingly evocative instrumental music, overflowing with ideas despite the pared-back line-up and restrained instrumentation.

The pieces on their new album carry melodies which could haunt you forever, from opener ‘Åben Bog’s Satie-esque refrains through to the tranquil gestures of ‘Vega’. Oftentimes Morten McCoy’s melodies are resplendent enough to carry these tracks, Jonathan Bremer’s subtle bass accompaniment content to wriggle gently underneath; at other times it’s the weaving of other reference points around their playing that carries the track forward. ‘Tusmørke’ is a case in point, wherein McCoy’s keyboards drift off into an echoing distance while strings evoking that most untranslatable of Brazilian concepts, that of saudade, mournfully dominate the middle section.

The album was recorded during Bremer’s divorce, and it’s hard not to hear a saddened, regretful tone in the playing on the likes of the lyrical ‘Salme’. His bass here is reduced to minimalist forward motion, while, in what feels like a sort of empathetic gesture toward his partner, McCoy offers some brilliantly-layered passages for piano and organ that have a dreamy, wistful air about them. ‘Dråber’ is perhaps the most ‘full’ track here, with the interaction between McCoy’s organ and piano and an urgency to Bremer’s bass carrying a tightness and insistence, while a pretty sequence containing something like Mellotron flutes after a patch of atmospheric nothingness provides a strangely affecting left-turn at the very end.

Meanwhile, the strident, emboldened notation of concluding track ‘Determination’ suggests a firmness, a new resolve of sorts, the interplay between electronic strings, piano and bass being a small wonder to behold.

It would be easy to let these pieces drift quietly toward the background of your existence, but to allow them to become like sonic wallpaper would be to do this duo an incredible disservice; these pieces demand and deserve your attention, leaving you ever so slightly altered in exchange.

Utopia by Bremer / McCoy is released by Luaka Bop on October 18.

Words: Mat Smith

(c) 2019 Further.

Graham Dunning – 1947

The ever-inventive Graham Dunning’s Music By The Metre process involves the deployment of automated machines to create chance-inflected art that sits somewhere between an installation and performance. The method was inspired by Italian Situationist Giuseppe Pinot-Gallazio (1902 – 1964) whose Industrial Painting method employed machines to create large-scale paintings.

Dunning used his Music By The Metre technique on 1947, a new album released as a recycled cassette edition of just ten copies. This is something Dunning has done several times over – he acquires a batch of old pre-recorded cassettes and records over the existing sounds with new music, leaving the title of the original cassette intact. For 1947 the overdubbed cassette was a soundtrack to an Indian film of (more or less) the same name, the new album featuring two distinct sides of Dunning’s music, each lasting twenty-one minutes.

The A-side found Dunning using an automated mixing desk, analogue synth, effects, modified records and flicked springs. The result is a murky soundworld of dubby bass tones and skittish rhythms, held together by a metallic non-melody and echoing sounds. It is at once both entrancing and unnerving, carrying a playfulness that’s offset by a darker, semi-industrial impulse, like an extract from a soundtrack to a movie about corrupted home appliances turned into savage death machines.

On the B-side, Dunning took the game Half-Life and replaced all of the sounds with samples of 90s rave music. A character was then manoeuvred into a specific location to allow the maximum layering of the replaced sounds to dominate the piece. The rapidly-cycling sounds creates an effect that alternates between the disorienting and the mesmerising, your ear trying to identify any recognisable element but ultimately failing – if it wasn’t for Dunning meticulously explaining the provenance of his sounds, we would really be none the wiser.

The recycled cassette edition sold out more or less immediately but you can listen to both sides at Dunning’s Bandcamp page. 1947 by Graham Dunning was released October 4 2019 by Fractal Meat Cuts.

Words: Mat Smith

(c) 2019 Further.