Review: Sly And The Family Drone ‘Moon Is Doom Backwards’
London five-piece Sly And The Family Drone who comprise of James Allsopp (reeds/bass clarinet), Kaz Buckland (drums/electronics/reeds), Matt Cargill (electronics/voice/percussion), Ed Dudley (electronics/voice) and Will Glaser (drums/electronics) have been on my radar for quite a while and who I first encountered with their fantastic 2020 full-length album Walk It Dry.
Since then, I’ve now seen the band live twice, once with Boris and Pupil Slicer at Settle Hall last May and then in August this year as part of another three band bill that included A Bear Around Your Neck and fellow Londoners Part Chimp.
Moon Is Doom Backwards is the band’s long-awaited follow-up and the fact that Shaman favourites Human Worth are involved in its release makes it all the more enticing. Also, with artwork once more being provided by percussionist Buckland (Kazland on Instagram), the scene is set for something truly special.
If you were expecting battering skonk as per usual, then Glistening Benevolence may initially take you by surprise. The album’s promotional notes emphasise ‘restraint’ and that’s certainly the case here. Maybe it’s having reviewed Bohren and der Club of Gore only very recently that colours my opinion, but there’s something about the ambient darkness demonstrated here that is impossible to ignore and so it’s inevitable that comparisons would be drawn. Bernard Herrmann himself would be proud of this opener.
Service is resumed with Going In, the album’s shortest number at just over two minutes long. Chaotic Kaoru Abe saxophone squeals and pounding Swans style drumming are forged together with such white hot intensity that you’ll find yourself replaying the track so as to experience it over and over again.
there’s something about the ambient darkness demonstrated here that is impossible to ignore…
After that, Cuban Funeral Sandwich wisely slows down the pace, after all you can have too much of a good thing. The aforementioned promotional notes also spoke about the use of sonic spaces which recall to me Miles Davis’ work ala Sketches Of Spain and Gil Evans’ beautiful accompanying arrangements on said album. The subtle use of space here showcases a newfound confidence in the band and one which I’m all the more happy to embrace.
Joyless Austere Post-War Biscuits has, like a lot of the album’s tracks, a somewhat silly name which thankfully by no means extends to the music. There’s an otherworldly, psychedelic vibe with nods to Pharaoh Sanders, Sun Ra and their ilk that proves positively enchanting.
The Relentless Veneration Of Bees is more of an experimental piece which is really saying something considering the nature of this album (and band) as a whole. It features the random creepy atmospherics of artists such as Nefarious Industries’ personal favourites Gridfailure and Mac Gollehon, a sound and vibe which leaks into the next track Guilty Splinters, albeit with a little more of the band’s trademark chaos thrown into the mix, especially with the madcap drumming and sax action. In some ways, one is reminded of Bitches Brew too if there was less emphasis on the fusion elements. In any case, however you choose to frame it, it’s still a killer sound.
Ankle Length Gloves is pure ambient soundtrack goodness, like an eerier version of the Taxi Driver score if that’s possible and one which echoes Glistening Benevolence. This helps to bring the album full circle, concluding as it does on a blissfully mellow note.
As highlighted earlier, Moon Is Doom Backwards marks something of a stylistic shift for Sly And The Family Drone which doesn’t necessarily equate to the band ‘going soft’, just a lot more nuanced. A superb effort.
Label: Human Worth
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Reza Mills
