Imbogodom – And They Turned Not When They Went

‘And They Turned Not When They Went’ is similar to, yet completely different from, Alexander Tucker and Daniel Beban’s 2010 Thrill Jockey release ‘The Metallic Year’. While the two continue the plunder of the BBC’s Bush House library of tape for foley sounds, the overall direction of the album is markedly different; a record that combines a penchant for theatrical showmanship with a ragged melodic bent.

Opening track “Borogmogrsquo’s Clock” gives the impression of stumbling into a frontier encampment late at night, the inhabitants staggering the streets in maniacal lunacy, hopped up on the hallucinogenic that Beban and Tucker have thoughtfully deposited into the town water supply to ensure that everyone is on the same page as them, so to speak. As with The Metallic Year, using a sound effect library as the foundation stone gives everything an endearing B-movie vibe.

This trip turns suddenly with second track “Slate Grey Light’, moving close to conventional songwriting territory – the tripping locals seem quite endearing at this point, almost normal. “Etchum Buoy” is pure sound design, acting as segue for “Window Faces” which leans back towards melodic experimentation. The rhythmic drum pattern degrades into groaning tape loops, which trails into “Heir Looms” – folk, dragged through the dust of static, delay and sound effects.

“Welcome Away” is more performance art piece – laconic Kiwi accent still distinguishable under layers of effects, a deconstruction of telephone communications complete with dial tone manipulations. With a knowing wink to the audience, the track repositions the tone of the album – Imbogodom clearly know they are on a stage, and are unafraid of the spotlights, unicycles and dancing girls that surround them, completely comfortable with using the bullhorn to invite people to roll up.

To this end, “Red Brick Roundhouse” continues the showground analogy, organ grinder devotional harmony in a muddy paddock, accompanied by strings. “The Passing Presence” further segues through xylophone creak into the brief “Nuclear Wind”. “I Am Here, I am Gone” is as strong a piece as Imbogodom have done, combining their talent for audio design with languid and melodic vocal manipulations. Album highlight.

“Rubbings” gives the tail of the record depth, a unique and engaging take on piano manipulation which slides nicely into “Pillars Of Ash”, an appropriate lullaby to put the townsfolk down for the evening.

Fans of Imbogodom’s last will find plenty to be keen on here, and the tack towards melody and songwriting may pull in others also. Characteristically off-centre, and endearingly brash.

- Charles Sage (@sagecharles) for Fluid Radio

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