"Behind a thatched divider" reviewed

V/A Compilation
"Behind a thatched divider" reviewed

Exclaim!
March '01

What a brilliantly tangled web. Dainty Deathy's third release continues the label's transatlantic love affair, presenting a compilation of artists from the UK and from our fair shore (with one American tossed in for the sake of free trade). Collectively, the music doesn't fit conveniently in any one mode or scene. The tracks by Bristol natives Sam Jones and Chris Cole (both of Crescent and Movietone) use tools of abstract, IDM-style electronics, but also good old human powered drums, pianos and strings. Ken Lillico, of Ontario, takes the human touch a step further and actually builds the instruments he uses to play his three short, bluesy/droney pieces on the disc. Other tracks feature Piedmont Sorpid, whose previous output includes Dainty Deathy's first two releases, The Sugars Of The Eyes and Estes Places. As on those releases, the track here provides a fractured soundscape of loops and samples that are held together with the promise of ambience to come. The album itself is physically held together by a hand-woven, honest-to-goodness thatched divider! To hold the flow of the divergent sounds together, there are musical vignettes provided by "mock band" the Sinuses. These mostly under-a-minute meanderings are effective at first, but after the first couple or three (there are eight of them) you develop itchy track-skipping fingers. Overall, the release shows the promise of a developing stable of diverse and imaginative artists. Let's keep an eye on the shores for new sightings.

Eric Hill.

Stylus (Winnipeg's CKUW FM magazine)
Feb., March '01

The third release form Piedmont Sorpid's Dainty Deathy Label features an international collection of bedroom scientists conjuring sound from the sputtering wisps of manipulated machines. Both Sam Jones and Chris Cole (members of Bristol's Crescent and Movietone) contribute solo recordings alongside rudimentary transmissions from 4- tracks, samplers and computers across Canada and the United States. While the Bristol chaps exude a maturity of compositional dissection well documented in their previous recordings, there are many others here nursing wounds in their societal isolation tanks waiting for such a chance meeting. Killaloe, Ontario's Ken J. Lillico and his homemade stringed instruments craft stark melodies from odd contraptions, Portland's The Scientifics wrap cycled samples in gauzy static while Brighton, UK's Nook, who has previously worked with Derek Bailey and Thurston Moore, makes sounds from an asthmatic playschool scene removed from Blue Velvet. By sharing a similar aesthetic of scraped and clattering sound, the individual pieces on Behind a Thatched Divider create a cohesive collection housed in a delicately hand-designed package.

Don Bargenda.

All Music Guide
Jan. '01

The Canadian label Dainty Deathy launched its activities with the compilation CD "Behind a Thatched Divider". It gathers tracks from Canadians Lillico BUILT Instruments, Piedmont Sorpid, Les Hashishiens and Bartoc, Americans The Scientifics and British artists The Balky Mule, Ramen, Chris Cole and Nook. The whole thing is held together by eight short instrumental rock tunes by The Sinuses, described as a "mock band." They play very badly, but their simple riffs, all ending after a few seconds with a loud "bang!" make a nice running joke. All these artists were confined to their bedroom before submitting material for this CD and most tracks have lo-fi sound quality. Crescent members Chris Cole and Sam Jones, the latter under the moniker The Balky Mule present strong alienated experimental pieces. Bartoc's track is also quite fascinating with its insisting Native American rhythmic motif and spoken voices. Lillico BUILT Instruments' three tracks are disappointing and The Scientifics' &"My Bulldozer" brings nothing to the set. Some of these artists deserve a chance to release their own CD someday, others should be forgotten, but for the experimental indie fan, Behind a Thatched Divider has musical and collectable value. It was printed in 500 copies in an original design including a detachable divider.

François Couture.

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©2007 : Dainty Deathy Productions