Anthony Moore’s astonishing art-pop archetype / post-punk prototype sees him take a sharp right turn after leaving experimental legends Henry Cow in the late ‘70s - a huge tip to fans of Wire, Talking Heads, Bowie, Panda Bear/Animal Collective
Resurfacing with Chicago’s Drag City some 40 odd years after its first release, ‘Flying Doesn’t Help’ holds its own as a standout sore thumb of the post-punk, pre-wave sound of London, 1979. Ostensibly pop, but riddled with strangeness residual from Moore’s studies of Indian classical music, and groundbreaking work with Henry Cow and Slapp Happy (who worked with everyone from Pink Floyd to Faust), it’s a brilliantly strange record when viewed from any angle, combining and slanting styles in a way that bridges and tempers ‘70s prog urges with punkier gristle in pop-puckered morsels. As Drag City comment, it’s “The perfect release!”, and we’re totally inclined to agree as the record swaggers, thrills and utterly compels from start to finish with its abundance of ideas distilled in each song.
For the vast majority of ‘Flying Doesn’t Help’, the results are remarkably future-proofed by their level of ingenuious composition, rarely edging into hoarier ‘70s prog-pop convention. Rising up with the pendulous swagger and switch from punkish to harmonised vox in ‘Judy Get Down’, the album runs by in a dream from the motorik blues drive and folk-rock choruses of ‘Useless Moments’, to the detuned, thistly ace ‘Lucia’. Moore’s Indian classical inspirations explicitly bleed thru in the sitar tang of ‘Caught Being In Love’ and most shockingly on the microtonal whorls in the feedback blowout of his jaw-dropping ‘War’, and quite unexpectedly, beautifully, in the synth and sax helix of ‘Twilight, Uxbridge Rd.’, which most uncannily recalls Mike Ratledge’s ‘Riddles Of the Sphinx’ - not a farcall as Moore would intersect Ratledge’s Soft Machine over the decades.
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Anthony Moore’s astonishing art-pop archetype / post-punk prototype sees him take a sharp right turn after leaving experimental legends Henry Cow in the late ‘70s - a huge tip to fans of Wire, Talking Heads, Bowie, Panda Bear/Animal Collective
Resurfacing with Chicago’s Drag City some 40 odd years after its first release, ‘Flying Doesn’t Help’ holds its own as a standout sore thumb of the post-punk, pre-wave sound of London, 1979. Ostensibly pop, but riddled with strangeness residual from Moore’s studies of Indian classical music, and groundbreaking work with Henry Cow and Slapp Happy (who worked with everyone from Pink Floyd to Faust), it’s a brilliantly strange record when viewed from any angle, combining and slanting styles in a way that bridges and tempers ‘70s prog urges with punkier gristle in pop-puckered morsels. As Drag City comment, it’s “The perfect release!”, and we’re totally inclined to agree as the record swaggers, thrills and utterly compels from start to finish with its abundance of ideas distilled in each song.
For the vast majority of ‘Flying Doesn’t Help’, the results are remarkably future-proofed by their level of ingenuious composition, rarely edging into hoarier ‘70s prog-pop convention. Rising up with the pendulous swagger and switch from punkish to harmonised vox in ‘Judy Get Down’, the album runs by in a dream from the motorik blues drive and folk-rock choruses of ‘Useless Moments’, to the detuned, thistly ace ‘Lucia’. Moore’s Indian classical inspirations explicitly bleed thru in the sitar tang of ‘Caught Being In Love’ and most shockingly on the microtonal whorls in the feedback blowout of his jaw-dropping ‘War’, and quite unexpectedly, beautifully, in the synth and sax helix of ‘Twilight, Uxbridge Rd.’, which most uncannily recalls Mike Ratledge’s ‘Riddles Of the Sphinx’ - not a farcall as Moore would intersect Ratledge’s Soft Machine over the decades.
Anthony Moore’s astonishing art-pop archetype / post-punk prototype sees him take a sharp right turn after leaving experimental legends Henry Cow in the late ‘70s - a huge tip to fans of Wire, Talking Heads, Bowie, Panda Bear/Animal Collective
Resurfacing with Chicago’s Drag City some 40 odd years after its first release, ‘Flying Doesn’t Help’ holds its own as a standout sore thumb of the post-punk, pre-wave sound of London, 1979. Ostensibly pop, but riddled with strangeness residual from Moore’s studies of Indian classical music, and groundbreaking work with Henry Cow and Slapp Happy (who worked with everyone from Pink Floyd to Faust), it’s a brilliantly strange record when viewed from any angle, combining and slanting styles in a way that bridges and tempers ‘70s prog urges with punkier gristle in pop-puckered morsels. As Drag City comment, it’s “The perfect release!”, and we’re totally inclined to agree as the record swaggers, thrills and utterly compels from start to finish with its abundance of ideas distilled in each song.
For the vast majority of ‘Flying Doesn’t Help’, the results are remarkably future-proofed by their level of ingenuious composition, rarely edging into hoarier ‘70s prog-pop convention. Rising up with the pendulous swagger and switch from punkish to harmonised vox in ‘Judy Get Down’, the album runs by in a dream from the motorik blues drive and folk-rock choruses of ‘Useless Moments’, to the detuned, thistly ace ‘Lucia’. Moore’s Indian classical inspirations explicitly bleed thru in the sitar tang of ‘Caught Being In Love’ and most shockingly on the microtonal whorls in the feedback blowout of his jaw-dropping ‘War’, and quite unexpectedly, beautifully, in the synth and sax helix of ‘Twilight, Uxbridge Rd.’, which most uncannily recalls Mike Ratledge’s ‘Riddles Of the Sphinx’ - not a farcall as Moore would intersect Ratledge’s Soft Machine over the decades.
Anthony Moore’s astonishing art-pop archetype / post-punk prototype sees him take a sharp right turn after leaving experimental legends Henry Cow in the late ‘70s - a huge tip to fans of Wire, Talking Heads, Bowie, Panda Bear/Animal Collective
Resurfacing with Chicago’s Drag City some 40 odd years after its first release, ‘Flying Doesn’t Help’ holds its own as a standout sore thumb of the post-punk, pre-wave sound of London, 1979. Ostensibly pop, but riddled with strangeness residual from Moore’s studies of Indian classical music, and groundbreaking work with Henry Cow and Slapp Happy (who worked with everyone from Pink Floyd to Faust), it’s a brilliantly strange record when viewed from any angle, combining and slanting styles in a way that bridges and tempers ‘70s prog urges with punkier gristle in pop-puckered morsels. As Drag City comment, it’s “The perfect release!”, and we’re totally inclined to agree as the record swaggers, thrills and utterly compels from start to finish with its abundance of ideas distilled in each song.
For the vast majority of ‘Flying Doesn’t Help’, the results are remarkably future-proofed by their level of ingenuious composition, rarely edging into hoarier ‘70s prog-pop convention. Rising up with the pendulous swagger and switch from punkish to harmonised vox in ‘Judy Get Down’, the album runs by in a dream from the motorik blues drive and folk-rock choruses of ‘Useless Moments’, to the detuned, thistly ace ‘Lucia’. Moore’s Indian classical inspirations explicitly bleed thru in the sitar tang of ‘Caught Being In Love’ and most shockingly on the microtonal whorls in the feedback blowout of his jaw-dropping ‘War’, and quite unexpectedly, beautifully, in the synth and sax helix of ‘Twilight, Uxbridge Rd.’, which most uncannily recalls Mike Ratledge’s ‘Riddles Of the Sphinx’ - not a farcall as Moore would intersect Ratledge’s Soft Machine over the decades.
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Anthony Moore’s astonishing art-pop archetype / post-punk prototype sees him take a sharp right turn after leaving experimental legends Henry Cow in the late ‘70s - a huge tip to fans of Wire, Talking Heads, Bowie, Panda Bear/Animal Collective
Resurfacing with Chicago’s Drag City some 40 odd years after its first release, ‘Flying Doesn’t Help’ holds its own as a standout sore thumb of the post-punk, pre-wave sound of London, 1979. Ostensibly pop, but riddled with strangeness residual from Moore’s studies of Indian classical music, and groundbreaking work with Henry Cow and Slapp Happy (who worked with everyone from Pink Floyd to Faust), it’s a brilliantly strange record when viewed from any angle, combining and slanting styles in a way that bridges and tempers ‘70s prog urges with punkier gristle in pop-puckered morsels. As Drag City comment, it’s “The perfect release!”, and we’re totally inclined to agree as the record swaggers, thrills and utterly compels from start to finish with its abundance of ideas distilled in each song.
For the vast majority of ‘Flying Doesn’t Help’, the results are remarkably future-proofed by their level of ingenuious composition, rarely edging into hoarier ‘70s prog-pop convention. Rising up with the pendulous swagger and switch from punkish to harmonised vox in ‘Judy Get Down’, the album runs by in a dream from the motorik blues drive and folk-rock choruses of ‘Useless Moments’, to the detuned, thistly ace ‘Lucia’. Moore’s Indian classical inspirations explicitly bleed thru in the sitar tang of ‘Caught Being In Love’ and most shockingly on the microtonal whorls in the feedback blowout of his jaw-dropping ‘War’, and quite unexpectedly, beautifully, in the synth and sax helix of ‘Twilight, Uxbridge Rd.’, which most uncannily recalls Mike Ratledge’s ‘Riddles Of the Sphinx’ - not a farcall as Moore would intersect Ratledge’s Soft Machine over the decades.