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The Titillators

That's The Night

    The Titillators became a band in 2018 and emerge from a bold compulsion: to sound completely unlike any other musical group in existence. On their third album to date, That's The Night , it's clearer than ever that they've been successful in this endeavour. It's a tuneful, mainly instrumental batch of bent exotica played by a group of some of Toronto's most inventive and highly regarded musicians. And while listeners will catch aural whiffs of jazz, pop, soul, electronica, and free improvisation there's something irrefutably singular about their output. They're led by Ryan Driver, whom you may know from his solo recordings on Tin Angel, from groups such as Eucalyptus, and from his frequent collaborations with Eric Chenaux. Driver provides the compositions and plays street sweeper bristle bass, an instrument of his own devising consisting of a small tine of metal plucked on top of an amplifed cigar box. The ubiquitous and multitalented Thom Gill's whistling often plays a disconcerting lead role, while both he and acclaimed jazz pianist Tania Gill play synths. Meanwhile the trifecta of percussionists Phil Melanson, D. Alex Meeks, and Nick Fraser offer rhythmic interplay with one crucial caveat: none of them are permitted to play any component of a standard drum kit.



      In September of 2019, Deliluh took flight with sights set on new horizons. A long plotted scheme to uproot the group from their Toronto home and airlift them into the touring bastion of Europe seemed like a pot worth gambling their stack on. Their future in the old world was read with wide-eyed optimism, emboldened by two albums newly waxed and tour dates rolling in. Greener pastures with foreign allure, a promised land chalk full of experimental art and sound, and a plethora of unconventional venues ripe for the picking... it’s open season, what could possibly go wrong?
      Well, the best-laid plans…

      Amulet is the first release since Deliluh’s departure from home, an opening document of the group’s transition abroad. Mirrored images of the same composition occupy each side; ‘A’ performed by their previous four-piece lineup, and ‘B’ by the current active two-piece. The lyrics depict a jewel thief committing crimes with the conviction of a merciless zealot, and justifying them with a spite for the status quo. The protagonist amuses with the threat of being “caught”, a fate seemingly imminent and yet laughable in the crooked context of societal greed. Knapp delivers sharp criticisms with a swagger liberated of fear, imploring us all to root for the anti-hero in a time when danger is craved en masse.

      The tonal contrasts between both versions testify to the group’s versatility. The A side pulls tension by way of minimalism, leaning into a sinister synth sequence that navigates a pitch dark sonic terrain. Swooning guitar, plucking violin, whispering synths and darting tape effects peek in and out of the periphery, circling with unsettled starkness around Jude’s gloomy bass drone, through until Wharton-Shukster’s string soaring climax.

      Flip to the B side, and the immediate motorik groove turns the sequence on it’s head, snapping to a gritty dance track for nights long yearned for. Pedersen’s modular synth takes on a fresh persona of dusted drums and otherworldly high hats, cracking on the beat while guitar scratches, processed sax, and string synths build with harmonic euphoria, all until the tape slips and pulls the rug from under the DIY dance floor.

      Amulet demonstrates Deliluh’s potential growing fearlessly in the face of a tight game. They promise a plentiful stash of recordings soon to be unearthed, giving the sense that their recently tested process of creation has been far from hindered. What comes next is anyones guess, though Amulet at the very least reassures that we’re still, as always, in trusted hands. 


      Patrick says: Bleak, cold atmospheres and ambience which seems miles out of place on a warm Summer's afternoon but which will grow more and more appropriate as Winter's tight grip quickly edges in...


      1. Amulet A
      2. Amulet B

      Trembling Bells

      Who Call The Law? / Made For The May


        Trembling Bells we joined by Stevie "Reverb" Jackson (Belle and Sebastian) on this brand new recording exclusive for Record Store Day. It was recorded by "The Sovereign Self" engineer Luigi Pasquini.

        "Who Call The Law?" is an amorous crime caper written by maverick English songsmith, Dan Haywood. It examines the antagonisms that ensue when a relationship disintegrates and the big questions that we are left to face

        Trembling Bells & Bonnie Prince Billy

        New Trip On The Old Wine


          RSD 2014 exclusive. 500 pressing, picture bag.

          Two Wings

          Love's Spring

            As the noughties came to a close, Two Wings (whose core members are singer/multi- instrumentalist/visual artist Hanna Tuulikki and guitarist/singer Ben Reynolds) formed. Having spent years bumping into each other in Glasgow's burgeoning folk scene, the pair finally took some time out to explore and develop their own compositions together, following in the direction of their many musical passions - from traditional folk (rock) to rock n' roll to psychedelia to soul and beyond. Glasgow has always been fertile ground for those seeking to synthesize traditional/ popular musical forms with a more progressive approach, and Hanna and Ben have long been travellers on this path. Hanna's experimental song-based project Nalle was described by Wire Magazine as "easily some of the most convincing free-folk the UK has ever produced". She was also a member of free form jazz folk ensemble Scatter and The Family Elan. Ben has been a solo artist for many years and his numerous releases include the 2009 solo guitar album How Day Earnt Its Night, released by New York's Tompkins Square Records. Ben was also the original lead-guitarist in critically acclaimed Glasgow folk-rockers TREMBLING BELLS and has collaborated with a number of other artists including Glasgow's Alasdair Roberts and Tin Angel Records' Baby Dee.

            Tin Angel Records has made quite a noise with some of its recent signings, and Two Wings join an already fabulous roster. On tracks like the album opener Eikon, Hanna's utterly unique vocals steal the show, while the seven minute title track is progressive, haunting, even unsettling at times. Elsewhere, Alters & Thrones marries twinkles and chimes with ethereal vocals and the 8 minute epic album closer Forbidden Sublime purposefully meanders its way to a spellbinding climax. Two Wings are quite simply impossible to ignore.

            "Mantler's 2010 effort “Monody” is a soulful and engagingly moody album that features singer/songwriter Chris A. Cummings' knack for bare-bones soft rock and indie soul. With songs centred most prominently around Cummings' lo-fi Wurlitzer keyboard compositions, “Monody” often sounds something like a mix of 70s icons Steely Dan backed by French pop duo Air. These are low-key but still somehow hugely cinematic tracks that register as a kind of indie rock take on film noir. It doesn't hurt that Cummings fills out these arrangements with orchestral flourishes, various wind instruments, and percussion elements that help to broaden his already expansive jazz-infused musical palette. However, just when you think you've got Cummings pegged as the captain of his soft rock yacht, he smacks you with such mid-album cuts as "Fresh and Fair" that pop and percolate with electronic keyboards and programmed beats. Similarly, the creeping and stealthy "Breaking Past and Day" hits with a kind of 80s synth pop Taco-meets-ELO vibe" - All Music Guide.

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