Toronto based art-punk quartet Deliluh recently released their second album titled Beneath The Floors on November 15th via Tin Angel Records (Telephone Explosion Records in US/CA). “Recorded in the same veterans hall 5 months prior to its sibling record (Oath Of Intent), Beneath The Floors delves deeper into their dark imagination, stretching further into stylistic extremes. …The LP explores themes surrounding generational imbalance, self-affliction and inner-conflict in the face of mortality. A relay of changing protagonists are followed struggling through the underbellies of modern life, and their respective scenarios also range in the extremes.”
The description used to decribe their music, art-punk, does not do their music justice. The album is made up of ten tracks that yes, demonstrate the art-punk side of things but also, at times, mixes a psychedelic, almost stoner quality to their music. The band is versatile and execute on the most perfect of sound levels. Great album from start to finish.
We caught up with the band before heading out on their UK tour and asked them what three albums have influenced them and their music. Kyle, Erik and Julius responded with their picks below.
Deliluh will be on tour in Europe this November – UK dates below (For more information on the tour, check out their Events page via Facebook.):
22nd November – Bristol, Lanes
23rd November – Nottingham, JT Soar
24th November – Manchester, Yes Basement
25th November – Newcastle, Tyne Bar
26th November – Leeds, Brudenell Social Club
27th November – London, Peckham Audio
Kyle Knapp‘s pick: F. J. McMahon – Spirit Of The Golden Juice
I was introduced to Spirit Of The Golden Juice a few years ago through my roommate’s partner. It’s the lone release from an air force veteran, recorded soon after his return home from Vietnam. The record bricked when it came out, but interest resurged 40ish years later and it’s one of the heaviest records I’ve ever heard.
It’s a very stripped down recording and his lyrics are simple and direct in the best way. The narratives cover a lot of ground: draft dodger awaits prison, memories of love lost, taking advice from an old wise man, and a whole lot of lonesome, bourbon addled nights: “There ain’t hardly been a time when life’s been too good to lose”… that kind of vibe.
McMahon’s word selection is straight-up and void of bullshit, but also the guitar leads are relaxed and un-canned. The bare bones approach of the album is equally as inspiring – it’s refreshing to hear that amount of beauty being conjured with such a streamlined set-up. All of it comes off naturally as a result, allowing the songs and lyrics to land with an earnest and aching weight.
Erik Jude‘s pick: Section 25 – Always Now
Section 25 formed in 1977 out of Poulton-le-Fylde near Blackpool England. They were part of the Factory Records family and most of their records were produced by loose cannon Martin Hannett. They blend post-punk airy guitars with dark electronic drums and bass. Always Now was the first release they had on Factory and it’s a record that really plays on the less is more motif. The atmospheric guitars over top of driving bass lines, heavy hitting drums, and lazy snarling vocals. This is most evident on the second track of the album “Dirty Disco” while other tracks on the record like “Hit” slow it down and feel like some sort of blooming flower of ambiance.
I really can’t recall when I discovered Always Now. I know I was going in a deep dive of anything and everything Factory Records after I discovered Joy Division and heard the story of the late great Tony Wilson. When I did first hear it though I was hooked, it was all I listened to for months afterwards.
Always Now was a real turning point for me and opened me to the style of guitar and bass I play now. It really taught me to keep it simple and driving and that complicated bass riffs were unnecessary and cumbersome in the music I wanted to create and play. It is truly my desert island record.
Julius Pedersen‘s pick: Pauline Oliveros, Stuart Dempster & Panaiotis – Deep Listening
Recorded in the underground cistern of Fort Warden, Washington state, 1989’s Deep Listening by Pauline Oliveros, Stuart Dempster and Panaiotis is a fully improvised drone record fully comparable to the Eno ambient series. Buried 14 feet underground, they explored the sonic textures of the 45-second long reverb tail roaring between the 89 pillars of the cistern.
The 60 minutes of improvisation is an inspiring example of just how crucial spatial conditions are when perceiving the timbral qualities of instruments. There is no use of electronic equipment – all of the instruments utilized for the recording are purely acoustic. The trombone, accordion, didgeridoo, and voice melt together with the acoustics of the cistern into one singular vibration, where the characteristics of the instruments mutate into droney otherworldly soundscapes. Deep Listening is meditative, mythic, and the atmosphere constantly shifts between chilling bass resonances and mesmerizing symphonic pads. This record has been a great influence for me in understanding the vital role that space itself can play in affecting the compositional structure.
Pauline Oliveros subsequently established the term ‘deep listening’ as the differentiation between hearing and listening – quote: “The ear hears, the brain listens and the body senses vibrations, and what is perceived acoustically and psychologically becomes a constant interplay between the perception of the moment compared with remembered experience.”