Andrew Liles & Jean-Hervé Peron - Fini! (CD Dirter)

'Is this Kate Bush?' asks Peron.

Nope, this is lysergic rock done Ealing Comedy style Liles finally unleashes the wild horses of his rock star dreams with a bombastic opener, 'The Drummer is on Valium.' Wide, expansive steady-thud drums. Even the ordinarily shite sound of a drum machine comes alive in Liles' hands. No easy task but he does it with aplomb. Or a plum in his cheeky cheek as some of the other tracks return to familiar witty territory. Half the pleasure of listening to Liles' work is his inability to decide whether he wants to be up Saxon's new guitarist or Sid James. Cue the filthy laugh. 

It appears that Faust's Peron  rambles, uttering phrases that pop into his head, that's how natural it sounds. It comes out of him, along with the acoustic guitar lines, with a total lack of pretention. A couple of the vocal lines used are out-takes, the bits in between a take. It's appropriate that Liles and Peron would opt for looking behind the sofa for the shiny pennies. 

I wonder if that's a tiny little sample of Alasdair Willis' sax playing on 'I Lost Faith in Words'?  

A personal favourite is one of the more rocky tracks, 'We Are Ready Here', with it's huge -that's huuuuuge- two note Hammond (software) rhythm. Slow and as heavy as a sack of bricks. Liles's lets loose with flashing guitars and sizzling Hammond free-solos. Acid as fuck. I likes it. Few tracks in this world genuinely gain from listening at increased volume, but this is one. Controlled, heavy, burning. He has the ability to sit, with ease,  the largely software-constructed/recorded material alongside the live instruments (acoustic and electric guitars). The balancing and placement of sounds is immaculate. They move. They layer. 

If there is a regret it's that he might never get to make this kind of recording (the guitar bits) using valve amps pushed hard. But if he does, hold onto your hats, those valves are going to burn bright. 

Liles' playfulness is stamped all over it. The congo lines of quirks and ticks, the wordplay and the absurdist pleasure in mis-communication enlarge fault lines that others would chose to paper over. During the krautrock drone that builds during 'It's Too Loud' Peron and Liles knock back and forth whether it's too loud or not. I do like the these moments of 'Huh?' 

'Ferme la bouche et asseyez vous'? They most certainly will not. HM