![]() But it’s the richest production yet from Davies. Its title may promise concision, messages terse and blunt. Temporal relativity expresses itself in the odd sensation that this album takes far longer to play than its duration. The brevity of this album seems to play with the space-time continuum. It’s as if, instead of the three dimensions of space, aural equivalents manage to convey what a later Moles reunion disc summed up in a song title: “Head in Speakers.” The rush of so many studio experiments into a flurry of dirges, celebrations and detours can bewilder, or even exhaust, a casual listener. Songs cram shifts in decibels, directions and melody. There’s Never Been a Crowd Like This (1996) builds on the dense construction pioneered by the Moles. These may baffle newcomers, but repeated exposure rewards with lyrical insights he embeds into this volume.Īnother brisk half-hour recording proved Davies’ first solo outing. Flydaddy’s edition adds tracks from this raw phase, when Davies channeled his talent into louder, crankier but catchy blasts. However, turning back to Untune the Sky (1991), The Moles dig up a drugged, intensified and committed (in more than one sense) unhinged treasure. ![]() So does Van Dyke Parks, classic rock and the Beach Boys. ![]() The Clean’s Hamish Kilgour appears among many supporting musicians that New Zealand trio’s influence reverberates along with the Chills into the Moles’ shimmering, wobbly, chiming and crunchy sonics. Instinct (1994) flew through nine songs in 23 minutes. Flashbacks & Sequences collects the first stage of the Moles. Originally guitarist-singer-composer Davies and three Sydney compatriots, they came nowhere near Cardinal’s affinity to Belle and Sebastian’s tart lilt, the Clientele’s moody meditations or Jason Falkner’s affable tunes. It certainly sounded livelier than Matthews’ solo work and smoother than Davies’ previous band.įlydaddy also distributed the Moles. A few fans elevated this self-titled modest release- first via the psychedelic-friendly Flydaddy label and later on Fire Records-to the expected cult status. ![]() This sounded little like the group’s contemporaries in the 1994 Sub Pop Northwest. His half-hour recording with Eric Matthews, as the duo Cardinal, married pleasant guitar pop with orchestral arrangements. Before Portland went twee, when it was mired in grunge, Richard Davies wound up there from Australia. ![]()
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