UK POST-ROCK TOP 14: PART 4
Fuck I loved this record when it came out in 1994. I was already into UK post-rock shit and just starting to get into jungle. I saw this as a terrific amalgam of the two. Maybe we didn't really need it but it was ticking all my aesthetic boxes at the time. I'd been big on Margaret Fiedler's previous band Moonshake since they had released the Second Hand Clothes EP in 1992 followed by the classic Eva Luna LP that same year. Big Good Angel from 1993 was the last Moonshake record to feature Fiedler and was a classic for her to go out on. I must admit I never followed them after she left. The Laika project had me very excited though. Along for the ride were ex-Moonshake bass player John Frenett and producer Guy Fixsen. Chuck in Lou Ciccotelli on percussion, My Bloody Valentine's Colm O'Ciosoig as a digital editor and even Louise Elliot from Australia's great Laughing Clowns on the sax & flute. How could you go wrong? You couldn't, Laika didn't!
Silver Apples Of The Moon kicks off with Sugar Daddy and you can feel the city streets with it's sampled noise, rain and trains. Then a sultry propulsive beat kicks in while classic 90s bleeps drift into the mix as Fixsen and Fiedler sing together. Fixsen, who had produced Moonshake, takes on a more prominent role here. As well as co-engineering, he co-writes every tune with Fiedler, sings, plays synth and other instruments including vibes, marimba, melodica, the sampler and even guitar. Laika were about unison whereas Moonshake had been about tension. Fiedler mirrors Fixsen (or is it the other way around?) taking on all the same roles in the band ie. engineering, sampling, playing all the same instruments etc. Next is The Marimba Song which has a trippy, tropical and Can-esque vibe. This tune introduced the band to the world as two versions of it appeared on their debut recording, the Antenna EP. Let Me Sleep has frenetic beats, unbelievable bass, spiralling layers of free sax/flute and a general air of cluttered urban space. Coming Down Glass is an ultra spaced out funky wind-up toy hip hop jam with flute squiggles. The whole thing sounds like it was recorded backwards.
If You Miss starts out oppressive before a vibraphone appears to brighten things up but then it flitters back to darker terrain and continues to fluctuate between the parallel universes of isolationism and blissed out ambience for the rest of the track. In the meantime the hypnotic beat maintains an amazing flow motion. 44 Robbers has Margaret rapping kinda awkwardly like Debbie Harry, taut guitar lines that sometimes veer off into noise, Pacific(state) Island soundz and an incredibly tight rhythm like The JBs. Red River could be a Moonshake tune with it's squalling sax, tense noisy guitar shapes, claustrophobic minimal bass and tumbling out of control beats. Honey and Heat is a mesmerising off kilter urban dub tune with see-sawing samples. The samples here are meticulously crafted and create an entirely unique peculiarity. Expansive rolling rhythms, loopy flutes, eerie samples, choppy guitars and Guy's whispered vocals all contribute to the strange twilight of Thomas. The delightfully jazzy, almost surf instrumental Spider Happy Hour brings proceedings to a close.
Like a lot of UK post-rock's lost generation a duality was at play on this album ie. alongside the urban intensity was also a swirling intergalactic vibe. This often gave the music a disconcerting feel which made you want to come back for more so you could experience the discombobulation again and again. On their next LP, Sound Of Sattelites, Laika would rocket off into the stars completely, leaving the squalor behind them in a vapour trail haze. Silver Apples Of The Moon is a time capsule of intersecting mid 90s musical zones. A real curio.
Silver Apples Of The Moon kicks off with Sugar Daddy and you can feel the city streets with it's sampled noise, rain and trains. Then a sultry propulsive beat kicks in while classic 90s bleeps drift into the mix as Fixsen and Fiedler sing together. Fixsen, who had produced Moonshake, takes on a more prominent role here. As well as co-engineering, he co-writes every tune with Fiedler, sings, plays synth and other instruments including vibes, marimba, melodica, the sampler and even guitar. Laika were about unison whereas Moonshake had been about tension. Fiedler mirrors Fixsen (or is it the other way around?) taking on all the same roles in the band ie. engineering, sampling, playing all the same instruments etc. Next is The Marimba Song which has a trippy, tropical and Can-esque vibe. This tune introduced the band to the world as two versions of it appeared on their debut recording, the Antenna EP. Let Me Sleep has frenetic beats, unbelievable bass, spiralling layers of free sax/flute and a general air of cluttered urban space. Coming Down Glass is an ultra spaced out funky wind-up toy hip hop jam with flute squiggles. The whole thing sounds like it was recorded backwards.
If You Miss starts out oppressive before a vibraphone appears to brighten things up but then it flitters back to darker terrain and continues to fluctuate between the parallel universes of isolationism and blissed out ambience for the rest of the track. In the meantime the hypnotic beat maintains an amazing flow motion. 44 Robbers has Margaret rapping kinda awkwardly like Debbie Harry, taut guitar lines that sometimes veer off into noise, Pacific(state) Island soundz and an incredibly tight rhythm like The JBs. Red River could be a Moonshake tune with it's squalling sax, tense noisy guitar shapes, claustrophobic minimal bass and tumbling out of control beats. Honey and Heat is a mesmerising off kilter urban dub tune with see-sawing samples. The samples here are meticulously crafted and create an entirely unique peculiarity. Expansive rolling rhythms, loopy flutes, eerie samples, choppy guitars and Guy's whispered vocals all contribute to the strange twilight of Thomas. The delightfully jazzy, almost surf instrumental Spider Happy Hour brings proceedings to a close.
Like a lot of UK post-rock's lost generation a duality was at play on this album ie. alongside the urban intensity was also a swirling intergalactic vibe. This often gave the music a disconcerting feel which made you want to come back for more so you could experience the discombobulation again and again. On their next LP, Sound Of Sattelites, Laika would rocket off into the stars completely, leaving the squalor behind them in a vapour trail haze. Silver Apples Of The Moon is a time capsule of intersecting mid 90s musical zones. A real curio.
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