The compilation opens wistfully with “The Heart Sounds Like Heavy Artillery” by the New Orleans based electronic composer Elizabeth Joan Kelly. A suitably gentle opening track built around an ambient soundscape with an almost industrial sounding rhythm.
There is the rhythm, which feels like we are listening to a garden shed full of tools in which a DIY hero is busily building its own garden furniture. There is the electric bass, so nice and thick that you can imagine wanting to sit on one of these freshly built chairs without ever standing up. Next to that we have that sun-providing sound of someone stroking a few guitar strings – which is always the right recipe to go for when in need for a certain warmth-holiday feel and vibe.
“Things move on into a strange seductive time traveling zone, one in which an old school train rattles over the tracks and the landscape is presumably all made out of electronic memorability. You can hear the birthplace of drone, the early BBC synth basement experimentational vibes, the electric joyfulness of truly re innovating music as it had always existed before.”
Read the full review here, and support Delia Derbyshire Day by buying a digital download from Wormhole World.
One more day til the release of Retrophonica – Aetheric Transmissions, and the reviews are rolling in. Electronic Sound Magazine (paywall) said of my contribution, “…the approach is deeply referential, evoking rich experimentation through tones, loops, and processed voices that feel like they could easily unravel messily.” And ANTI: Music Review writes, “Metro Musix by Elizabeth Joan Kelly is one of my favorites off the compilation, refining many of the elements typically pursued but adding her typical cataclysmic touch that becomes all the more riveting, and forbidden-sounding.” Read the full ANTI review here, and don’t forget to buy your copy of Retrophonica; proceeds benefit Delia Derbyshire Day!
“This is the soundtrack to my dreams. Chaotic, beautiful, mysterious and sublime. It took me a while to post due to trying to savor every nuance. I listened to it on my stereo, with headphones, and in my car. I got something different out of it each time. I got kinda lost in it for a bit. To me, that is the highest praise I can give.
Thank you so much to Blair Millen for shouting out Farewell, Doomed Planet! as a “genre-bending” album that “deftly crossed various musical plains with aplomb.” Blair’s got loads of great recommendations; see more over on The Letter.